RSS

Category Archives: philosophy

Judy

Judy is now
In her forties she works a bit
In a shop full of silk from Bali
Bags from a Women’s collective in Southern Mexico,
Incense
Gum carefully liberated from trees
Who, I’m sure, happily gave it up
Knowing just how trendy it would be.

I saw her again after so many years
Said hello, was greeted in a way
That left me feeling emptied,
But I didn’t say anything about that,
I just asked her how she was.

Her voice now cracks, gurgles, croaks
The effect on her of too many cigarettes
But that’s ok, says Judy.

The more we smoke the fewer people
She explains, smoking is a way to eradicate
The plague she calls human beings.
One fewer person, she explains
Is good for the Earth,
Even if that person is her.

And I don’t mention the greater drain
The ill are to the world
Or the damage tobacco crops do
To the land, the waters, and, ultimately
To Judy.

We use to sit, she and I,
Naked in the water,
A lake or a pond,
Sometimes a puddle would do,
Staring up at the reflected blue
Or at a moon whose bright opal
Set our bodies glowing in effusive glory
Against the background of the darker sky.

Long hours we sat,
Planning our next action
In defense of that which could not defend itself.
What would not get built on our watch,
Who sits in the tree this week,
Where the fence was weakest,
How to fight is won
By the compassionate warrior
Fierce and joyous.

We would look at the moon and she would howl
As I stood mute, in thought.
Now, the howl sits bound in her throat,
Unable to escape
Through the dark-matter mass grown of
Her loathing for herself,
The hatred for her species.

 
2 Comments

Posted by on May 31, 2011 in Culture, Gainesville, philosophy, Poetry, Social

 

Tags: , ,

Rememberance

The dates had been set for a trip for Lee and I to New York City. A drive up with the remainder of my daughter’s boxes, sixteen of them in varying sizes and weights, two portfolios, two pictures carefully wrapped in blankets, one tool set and a two by six by eight inch stone signed by fellow students from the inaugural class at The America Hebrew Academy in Greensboro, NC. The dates were changed from later in the month to earlier – her work schedule changed and, always overprotective, she worried about us traipsing around NYC by ourselves. On our end, work became heavy and, heading into summer, we were reticent to tell patients they could not have appointments.

It had been months since we’d seen her. Too long for me. But, in the end, though I missed her enough to bother her by phone nearly every day, it seemed a trip destined for difficulty. I felt we were pushing it somehow – the fast drive up and back, the shuffling of patients, the challenge in accommodations as she had, as yet, no couch or blow-up bed and I was not looking forward to arriving in NYC and immediately dropping a few hundred on a sleeper sofa.

Lee suggested Alek go along instead. We made the plans but, at the last minute, he felt it was a bad idea. Not just for him, but for anyone. In the end, it seemed he was right and we canceled. But I still needed a day or two away and Lee suggested Gainesville.

I had shied away from Gainesville. But, now settled into a home I like, visiting the place I considered my home for so long no longer seemed melancholy and bittersweet. I could go to my favorite gardens, walk the trails, climb the sinkhole, sit downtown, stay up late at my favorite coffeehouse, spend the afternoon at museums. And I can get from here to there well before a single MP3 disk runs out.

I asked Alek if he wanted to go – to get away with me and leave Lee the house to herself for a couple of days. Happily, surprisingly, he said yes.

This might have something to do with my having invited his girlfriend too.

Jessica is a sweet kid. A smart kid. We have made it a point to include her in the household whenever we can. She’ll watch TV with us, have dinner with us, go out with us. We want her to feel welcome and to know that she is. This is no chore – she’s fun to have around.

A week ago, Alek took her to South Florida to visit my father and brother, my in-laws. She learned quite a bit about the family and, yet, she stayed. So why not take her to Gainesville and show her some old haunts and tell her some odd stories. Let her see where Alek was born, where we lived, learn a bit about his parents.

Besides, Alek is quiet, Jessica talks. She and I will sing in the car while he sits. When we go out, he is worried about which one of us will embarrass him more. In short, it’s fun to have her along and it makes Alek happy. So why not?

The day was set. We leave Thursday. An easy trip. One night there. Gardens, sinkholes, museums, flea markets, thrift stores, retro clothing, coffeehouses. Maybe I’ll look up some people I know. Maybe not. I post a status message on Facebook. “Anything musical, festival, artful, eventful, funful or playful going on in Gainesville this Thursday of Friday?” I should have known not to, I did know not to, and I did it anyway.

Wednesday night I got this reply as a message on Facebook. It is from Tori, a friend of fourteen years. Tori thinks it is longer and I don’t tell her any different. The subject was “The Wild Young Zikr, Poetry Jam and Potluck”

I had gotten an invitation to this a month or so back but, since it was in Gainesville and I am in Palm Bay, three hours away, I said no. That and the fact it was a potluck which means there will be food and people which means eating food and talking to people. Actually, that was the only reason I said no.

The entire body of the email was two words. “Come by.”

People who know me, who spend time with me, come to understand that somehow, often somewhat uncomfortably, often somewhat frequently, they are in for new experiences. Tori, later, Victoria, later Murshida, always Tori to me, is like that as well. Having seen the comfort-stretching, learning and experiencing my friends tend to endure when around me, I knew what I had to do.

I had to say no. I had to say it quickly and before it was too late.

Why did I not use the word no? I walked right into it. I said “My dear Dear, It is a party. That means I will be struck with near paralyzing fear, cold with sweat, and wanting to crawl into any hole I can. Then I’ll cling to anyone I actually know and then worry about having done that. How’s THAT for a confession and knowing myself?” I added, “Besides, I won’t have been able to have cooked anything.”

There. That would be that. Done. Over. Crisis averted. After all, I promised no more forcing myself into social situations. I didn’t need them, didn’t like them, didn’t want them. And I can lie to myself as well as the next guy.

On the occasions I have needed a psychotherapist, and I assure you I have and do, I have not seen one. Why? Pack of idiots. Pulling out their tricks and counting on their common logic. I know their tricks and can out-logic them half asleep. Too smart for my own good, I am told, I have never found them to be effective. In psychotherapy, a good therapist has to get past your mind, past tricks and leave you with no place to go but in the direction of discovery, experience and growth, of finding or leaving. Tori is a psychotherapist. I should have known better. I should have just said no.

Her reply.

It’s not a party– it’s a ceremony– does the invite say party? That was a student’s oversight.

Come at 8:30 to eat and for Zikr– helping clean the dishes as your contribution to the meal will help manage your social anxiety between the eating and the invocation– bring a couple of dark chocolate bars to add to dessert– you can break them up and arrange them on a plate once you get here– another activity to manage social anxiety…did I tell you I was almost paralyzed by this for years… covered it up because I am an actor. It sucks. My heart to you! I love you.

And Zikr… Zikr is… Zikr is…

5,000 years of Dervish Divine Magic. 130,000 prophets in the room, Illumined Teachers in the room, music beyond what is being sung… such beauty.

During the height of the Moorish Empire when our ancestors lived in the Iberian Peninsula enjoying what is sometimes referred to as The Golden Age of the Jews, there were seven generations of Jewish Sufi Sheiks. And you, my dear, area Dervish to the core. So… if you don’t come I won’t be insulted for a moment, but what a thing to pass up… eh?!!! ♥ ♥ ♥

Damn. She did exactly what I would have done. The sidestep. She deflected my issues, piqued my curiosity, spoke to my longing and left me nowhere to go but discovery and experience and growth. She left me nowhere to go but her house on Thursday evening.

Hmm… social interaction and food. Nothing like dropping myself directly into the lion’s den.

But, if it is religious as well, it would probably be interesting to Alek, soooo…

Mind you, my newest poetry is not printed out so all I have is some older things. I mean, I have the new stuff on Internet access and on the computer, but not on paper. So if I read it might be something you have heard before.

Eight-thirty, eh? Dark chocolate, eh?

You know, if I’m on stage, I’m fine. If it is my job, I’m great. But I have even stopped going to contra dances for fear I won’t get asked, or, if I ask, I’ll be turned down. I never am but I know, next time… next time… so I don’t go. I just stopped forcing myself.

So what’s the dress code?

Why was I asking her that? Was I actually going? I asked the kids to see if they might say they’d not want to go. I prodded. I suggested.

“Sounds interesting,” they said. Damn.

Tori’s reply to my queries and misgiving?

Dress code is comfortable. Alek is welcome of course. Lots of young people. Not a place for performing actually. But what comes through comes through… you’ll see. Someone will be holding your hand most of the time and guiding you through… I promise that! lol. ♥ VA ♥

I wrote back. “Guiding me through? I’ll have Alek’s main squeeze with me to. Guiding me through?”

Notice the sidestep here. “Awesome… ,” she answers. “The Path of Love Loves Lovers… yep yep yep ♥”

“Damn, it looks like you are giving me something to write about. CRAP!”

“Yes!”

I have not written much in the last two months. It’s not that I have nothing to write about. I am working on a revision of a book coming back into print, on a novel, on a series of vignettes, on promotional material for the office. I have things I could write about. Maybe too many. A friend joked the other day that my problem was I had so much to write about that I don’t know where to start. I said “I need assignments. Write about this event. Write that story. Even better, maybe someone will give me an adventure. Wouldn’t it be great if there was a something interesting I could go to, less than a day away, that I could write about.” Make sure you really want something before you ask for it.

So Thursday morning we set off.

It is a three hour ride and we arrive in town with plenty of time. I take the kids on a tour, showing Jessica the house we lived in that we bought because of the live oak tree (age three), where the Lubavicher rabbi, one Shabbos eve, got Alek drunk on vodka and he spit up all over the rabbi in return (age four), where I died in my orange VW bus after a head-on collision with a blue truck, laying across Alek keeping him safe (also age four for him), his elementary school, Littlewood (ages five to nine), the old cooperative school we started out in the woods (ages who knows), Civic Media Center, where I got my start reading poetry at a clothing optional event (age who knows again), the bookstore we owned (age seven to nine) which now sells cigarettes and beer, and the house he was born in (not age four).

We pass the houses of people we know and decide to not stop in. Many we have made attempts to keep up with and most of the friendships fell apart from disuse as the distance and time grew. Some I email and some I call and from none do I get replies. That evening, I clean out my phonebook.

We explore downtown a bit and stop in at Flashbacks, a retro consignment shop. We buy a dress for Jessica and some cool whacked-out multi-coloured skater shoes for me (women’s size ten) and a great, magnificent find – a plaidish wool fedora. Neither appear to have been worn at all. Ever. Divesting myself of fewer than twenty-five dollars and feeling well on the upper-side of the bargain, we set off for lunch.

El Indio. It is not hard to find it and we have a great lunch of Mexican food under the trees on Gainesville’s main street, which is not Main Street, but 13th Street, US Highway 441. From there we walk a block to Mother Earth and buy three bars of dark chocolate. Green & Black’s Organic 85% Cocoa Dark Chocolate.

There is a whole lot of tired going on. We head back to the West Side, near Archer Road, and look for a hotel. Classes let out for the summer a week ago and rooms are plentiful and inexpensive. We settle in, me in one room and Alek and Jessica in another. We will rest and, in an hour and a half, at quarter ‘til seven, leave for Tori’s.

Out Hawthorn Road, in the Southeast region of the town, down towards the lakes, in a hidden area of small to medium, iconoclastic adobe, A-frame, tin-roof, shack, balcony, geodesic houses, each more improbably different than the next, we wind around dirt roads until we find Tori’s home as described, notice the many people sitting, standing on the wide front porch. I had hoped we’d arrive before most of the people and I feel my heart rise in my throat.

It is difficult to find a place to park and we squeeze past the cars on the narrow lane, turn around at the end, at the bank of Calf Pond, and squeeze past them again to park by the top of the street, unblocked and unblockable by any car obeying even the rudiments of the spirits of logic and the traffic laws. I have planned my escape.

The kids exit the passenger side. I left not quite enough room for me to get out and I step into the vines and loam, smoothing my way against the side, compressing myself over the hood. Down the road, up the short path, two steps up to the porch.

“Adam!” She rushes toward me, slams into me, hugs me. It takes me a moment to process the voice, now buried in my shoulder. Kat. Katey. “Katey!”

In her mid-twenties, tall and thin, other than a sporadic picture on-line, I have not seen her for nearly ten years. Long among my daughter’s best friends, even when distant. For years we saw her nearly every day.

I introduce the kids. Alek, of course, she knows though he has changed much since his age was in the single digits.

She takes my hand and brings me, around the people, inside. A small house. An adorable house. Different coloured walls, arches, stucco, sashes and prayer flags over doorways, devotional items on the walls, a fireplace to the left on the front outside wall as soon as one enters, and a table at the far end covered with food. A floor. The floor looks like people. Pillows and people. A sea of people between the front door and the table. A sea of people wearing shorts, t-shirts, sarongs, tank tops, less, more. I step around, over, through.

Really, it is not that crowded, but I don’t look down. There are many people but I don’t look down as that is where they are, sitting. Katey tells me her mother is busy talking with someone and points to a door through which I assume Tori is. And she must go as well. “Wait a moment.” I reach into my backpack and hand her three large bars of the 85% cacao chocolate. “For the desert table.”

We stand. It must be a few minutes or maybe a few seconds. I look at Alek and say softly, “I’m going to go outside where I’ll be less conspicuous.” I am not thinking about the fact that I am dressed in a button-down, albeit flowered, forest green shirt and dungarees which is as comfortable as I get when I don’t know the people. No, I am thinking about my mere presence and palpable, I am sure to everyone, discomfort.

And from some part of the room I hear, “be less conspicuous?” And so confirmed becomes my belief, my self-fulfilling prophecy, that people notice me, laugh at me, talk about me. I walk out the door again. Across the porch, down the steps, to the road and walk to the left, the right, one end, the other.

Out comes Tori. Tall, bright, nearly buzzed white hair, dressed in white, flowing inside and out, she hugs me. And I do so adore her. Always have. And miss her. Always do. She senses the discomfort even as I melt. She tells me how good it is to see me. She takes my hand, leads me around, introduces me to people, tells them she knows me much longer than she does. I don’t argue. “Want to take a walk to the pond? We have a dock that goes out into it.”

We walk down the road, onto the narrow, single file, wooden dock. In the water baby gators swim by.

“I swim in there,” Tori tells me and a few other people who have followed us, met on the way, or were already there. “I just listen to my instincts.”

It’s time to go back to the house. Time to eat. Back up the lane, inside. Tori walks to the table, gathers people around, points to the dishes and tells us what is what, what’s in it, who brought it. Time for a blessing and we all gather in a large circle squashed by the walls. Someone is missing. Tori’s mom. I’ll get her, says someone and leaves the room. A few moments later, her mom, thin and white, sitting in a chair, is slid into the room, chair legs across the tile floor.

The last time I saw her mom she spoke. The last time I saw her mom, she walked. Last time I saw her mom… I want to go over and say hello. She smiles. People talk to her. I can’t. My lack. It has not been long since my mother died and it feels like that. Far too much like that. Far too soon. And immediately I feel badly for my inability to communicate with her, my desire to distance, the feeling, if I walk over, I will begin to cry and see my mother, again, cold, dry, dead. My last image of her and I can’t do that now.

It is my lack. But I choose to be kind to myself. As kind as I can be while still dishing self-reproach.

The blessing begins. Tori leads it, blessing the food, our gathering, that we have come together to share this meal, this love, this precious time together and our reaching out to one another in union, in expansiveness, in joy. That we all move toward the one and the one moves within us all, each a ripple or wave in a single expansive sea.

And we eat. I wait, as always, not wanting to be seen eating, that someone might say, “he’s fat but he’s eating?” knowing, as I do, I am the only one who begrudges me food. But I wait, regardless, until the line is down, ’til seconds have been had, ’til cleanup has commenced, ’til most are busy talking, or laughing, or walking in the warm night.

I grab a plate and find the food is gone. This was my hope, of course. My son tried to get me to eat. I told him I would. But if the food is gone, what’s to be done?

There is half a slice of bread left, made by Tori, spelt and seeds and dense and delicious. There is a handful of cucumbers and a few fork-fulls of salad. I eat. Beside me is a conversation about massage therapy and sore legs. One woman has shin pain and wants to know how to stretch to alleviate it. It is a chance to help and I apologize, ask if I might make a suggestion, and, with leave, do. She is a massage therapist, not a student as I thought, and I think they might believe me to be egoistic. But it is information she did not have and seems happy for it. And I back out off the conversation before I have worn thin my welcome.

I bring my plate into the kitchen and, among three other people, wash my dish. Then other dishes on the counter, then gather other things to wash, happy to have a chore – doing something that allows me to face away from others and with no expectation of socializing. When there are no more dishes to wash, I walk outside. The kids are sitting on a set of steps.

Jessica is feeling uncomfortable. Her stomach hurts. She feels somewhat nauseous. Part of me wants her to want to leave and I will, of course, concede. part of me wants her to come in. We’ve come this far, why not go all the way? Tori comes over, crouches, speaks with her, assures her no one will ask her to do anything she feels unable to. She agrees to come in and give it a try. I am heartened. I am undone. My mind, my will, divided, opposed to itself, gets what it does and does not want.

Then, we are called back into the living-room and asked to take seats upon the floor. There are pillows. I refuse one, knowing, within ten minutes, my legs will be asleep. People push in, Tori askes we get closer. “Smush. Smush.” My son to my right, Jessica beside him. To my left, a young lady who’s name I do not know. I do not know anyone’s name save my son, Jessica, Kat and Tori. She wears a green dress and sits on a pillow. Everyone has a pillow and she leans forward and grabs one of the few remaining, piled in the middle of the room, and insists I take it. She has a Spanish accent, South American. Argentina, I am nearly sure. I refuse the pillow. I refuse the kindness.

“Smush Smush.” We do, I am pressed against Alek and he sits tightly. I try not to impose on his space. Ms. Argentina is pressed against me and I try to move to give her room, but there is no where to go. She sits cross legged and lets her legs fall to the sides, her right leg resting on my lap. I thank her for the excellent suggestion of the pillow, taking it from behind her and popping it under me. Newly elevated as I am, her leg still drapes over mine, resting on my thigh. I have no choice but to melt and breath.

Tori lays a sheepskin down in front of the fireplace and sits. “This (drawing a large circle in the air) is Islam. This (drawing a large circle slightly intersecting the other) is Sufism. This little space where they come together is Islamic Sufism but the rest of this circle is Sufism too. A long time ago, Mohamed welcomed the mystics, persecuted elsewhere, into his protection. Everyone was welcomed. Muslims, Jews, all the mystics. And they sat on sheepskins, or ‘sufs.’ So they were called Sufis.”

Zikr. It means to remember, to praise, to celebrate, to devote. It is movement and a spiritual state. It is to occupy ones body and mind, simultaneously, with the act of devotion so there is no space, no thing within that is not involved in devotion, not filled with celebration, not engaged in remembering, not suffused with love. The entire being becomes a celebration of all that is within and without and, soon, cannot tell one from the other. All things are divine and nothing is not the ground of creation. Zikr. Dhikr. Daven. Sway, rock, recite, repeat, praise, sing, move, move move.

She speaks about recognizing each other. Sufi’s, those on the path, mystics, though not all alike, recognize each other, as she recognizes us tonight.

There is further, but brief, explanation. Some chants will be in Aramaic, some in other languages, but all will be translated and all are here to bring us toward the one, toward unity, to ecstasy, out of our bodies and out of our minds to expansion past our skin-encapsulated egos, and into the ocean of being. We will be soaked, drenched in the one. We shall be drowned, encompassed without, filled within, by the love of all that is.

“Allah hu. Hu Allah.” A name of the one and the universal sound, a breath. We chant. I was taught a similar chant by Rabbi Isenberg, now the Chairman of the Department of Religion at the University of Florida. We would breath, chanting fast, bowing our heads. ” Sh’ma Yis’ra’eil / Adonai Eloheinu / Adonai echad.” Three bows each time, one for each part. Fast, faster, breathless. Ten minutes, twenty minutes, half an hour. Shaya would gather the Jews of a mystical bent and the Muslims of a mystical bent and have evenings he called “Jufi Dancing” to prayers and songs and chants. The Dances of Universal Peace. On Sundays, often, we’d play soccer, the Jews against the Muslims, no one keeping score. A name for oneness is a name for oneness.

Yet, I have trouble as the chant takes hold around the circle. First I sing not at all, then quietly, barely moving my lips. Then, as time passes, the chant starts singing itself and I feel no choice.

Words have meaning, rhythm and sound. Their power comes from the vibration of these three. But we don’t need to understand the words. Sometimes the words are lost. Sometimes we can’t pronounce them. The rhythm and sound are all that is needed as these impart their own meaning.

A rabbi taught me, if I don’t know the words, hum. There is power in the tune, in the rhythm and sound. Some chants come and go. Some, though, have power in their tunes, power in their sounds. They last. “Allah Hu.”

So I sing. And Tori begins to twirl. She spins and spins and spins in the little space there is within the circle. She bends down and grabs someone’s hands and they spin together. She lets go and that person grabs someone’s hand and they spin. We chant, we breath, they spin. With each choosing of a new partner, I wish simultaneously to be chosen and overlooked. We sing we sing we sing, they whirl, they whirl, they whirl. Faster and faster and then, as though by cue, we slow and breath and slow and slow and stop.

We had all pulled our legs in, to make more room, to not get our feet spun upon, and Ms. Argentina and I are now rather nestled into each other. And it is time for the next chant.

We count off into ones and two. Hold hands. Ones turn to the left first, then right. Twos to the opposite. Say “I don’t exist.” Turn. “You exist.” Turn. “I don’t exist.” Turn. “You exist.” Again. Again. Look in the eyes. Repeat. Again and again Ms. Argentina and I look into each others’ eyes, tell each other “I don’t exist.” Alek and Jessica are doing the same. Alternately, I turn to Alek, tell him “You exist.” Back to Ms. Argentina. “I don’t exist.” People are snickering, some laughing, some looking down, some follow through, more and more, look around, smile, radiate, expand, glow.

We rise and learn a song. Umbay alahay alahay alaho / Umbay alahay alahay alaho / (Rise an octave.) Umbay alahay alahay alaho / (Drop and octave.) Umbay alahay alaho. We sing. We sing. The circle breaks and the beginning of the line moves, sways, walks, dances. We become a snake, moving, swaying walking, around the house, into the kitchen, out the back door, into the yard, singing, walking, spiraling, singing, singing, faster, slower, louder, softer, tight, loose, drawn, compressed, expanded, pulling, pushing, singing singing singing. Passing eyes, looking, gazing, singing, the line doubles on itself, we face each other, it spirals again, we face away, it folds, circles, folds. We coil, coil, sound in our ears, singing all around and after an unknown time, we are all spiraled into a singing coil, tight, tight against each other, side by side, front and back, singing, pressing, pressing. Warmth and sound and naught else.

There is nothing to do but sing and melt. I cannot tell where I end and the next person begins. How long have I been holding Ms. Argentina’s hand? Alek’s hand? I am pressed between them, against the person in front of me, the person behind me. Briefly, ever so, I take inventory. What is there? Sound. But so much is missing. Anxiety. Worry. Boundaries. Me.

We quiet. Sing in a whisper. Slowly uncoil. Sit on the warm Earth. Come back inside. Sit again.

We are quiet. It is time for a story. Tori starts it. We each add a bit then pass it on. I am two thirds of the way around and it falls in and out of continuity, the story of a lonely woman of the distant past. A woman who lives in the desert and wishes to see the ocean. My turn comes and I do my best to return the story to the realm from which it came, to address the original question, get the woman to the ocean and away from caves and talking cats and speeding cars and back to her home and time and desert and to help her find her ocean.

The person before Tori has his turn. “I don’t have to finish it, do I?”

“No,” she says, “I wouldn’t do that to anyone.”

He takes his turn. So does Tori. But the story is undone.

“Adam,” She asks. “Would you finish the story?”

I guess I’m not anyone. I am surprised. It is a compliment, I know. And I take it gladly, finishing the story with the breath of the divine lifting the woman and her carpet to the clouds, to the sea. Everyone blows. Everyone blows. Our breath together is the divine breath. Our wish together is the divine wish. And together her wish is fulfilled. Together, may all our wishes be fulfilled.

Tori looks across the room, smiles, puts her hands together in front of her heart, shakes her head yes, says “I love that man.”

And, yes, I believe it’s true. And, right now, so do I.

 

Tags: , , , , , , , ,

Toward the Sea

There is a room with three walls and no doors. A ceiling but no floor. There is sand and there is ocean water and there are people. Throngs of people. The waves wash in and out from the open end of the room, through the throngs, against the back wall. All is sepia-washed walls and light and people and I am there looking out into the ocean.

Along the left wall is a couch. Red, leather, extending the length of the room to ocean-edge of the wall. It is for me. I don’t swim and the couch is for me. The water is up to my waist and I hoist myself up onto the couch, slide myself oceanward, people saying things to me to which I pay no attention, patting me on the legs, the sides, some sad, some happy. I hear them, but register nothing. My wet bathing suit sticks to the leather. Everyone is in a bathing suit or less. All in the water but me.

And the body. Handed out, over the heads of the people, hand to hand to hand, my mother. I cannot see her through the hands, the arms, the bodies. She moves slowly seaward.

I have reached the end of the room, the edge of the couch but the people go on, the handing of her body overheads continues out, out, out until I barely see, until the water rises, until the people disappear, until her body slips to the sea.

It’s a long way out. You’re resting. You have a long time and no where to go. I can only watch as you recede.

 
1 Comment

Posted by on February 19, 2010 in Family, philosophy, Religion

 

Tags: , , , ,

The Harmony of Broken Glass

A million years ago, I used to own a bookstore. The community had asked for it and even put up much of the money. In return, they’d receive a return on their investments when the store turned a profit and would have a local store that carried the things they wanted. All Lee and I did was to quit our jobs, invest our time and money and pour our hearts and souls into it. They gave us a list of the sorts of things they wanted, we stocked them and they pointed their browsers at Amazon to buy the books and drove to Wal-Mart to buy the candles and soon we were out of business and they could not quite figure out why.

We were in Gainesville, Florida, at the end of Sixth Street, where it met 441 at an acute angle just past the north-side of town. Our building was an old gas station built in 1906. It had the original brick foundation holding up the original cedar beams holding up the original pine tongue and groove floors holding up the original pine tongue and groove walls in which were held the original windows. Nearly one hundred years old the entire building was and it creaked and groaned and loved every step made inside.

The building had two main rooms. The front, the salesroom, was twenty by twenty and windows all around except for the front door on the south wall perpendicular to the street, and the door leading to the second room, right in the middle of the west wall with a large pane of glass, door to wall, on either side. The second room, twenty by forty, was solid wall on the north and east. Separated by glass from the front room and, on the south side, made of century old wood, plaster and glass. Mostly glass.

The windows were high and wide with broad sills. In the second room, three of them stretched from the front to the back. As one looked to the lower edges of any of the windows, as one looked to the grass below through the bottom of the pane, the world stretched, became bulbous, swirly. If you put your hand on the glass, you could feel it thicken as one got closer to the sill. Thin at top and thick at the bottom. Old poured glass windows – a super viscous liquid that slowly, over nearly one hundred years, poured towards its own bottom. Kids would love to sit there and stare though the bottom and watch the world wiggle, fatten, and wave. So did I.

This was the room we used for classes and workshops. Around its perimeter, it held rugs and t-shirts, dresses and scarves as well as other textiles, folded on tables, hung from frames, and tacked to the walls. So large, it was, we never had to move anything much for a workshop or fair.

We had bands too, and we’d serve coffee. We’d be open until eleven and many of the coffee drinkers would not purchase anything, so we figured the coffee would pay for the electric that evening, at the least. The coffee was in the small kitchen area off the large room and it was self serve as we were neither set up nor licensed for food service.

At first it was by donation. When we found the donation can with little money but filling fast with empty sugar packets and gum wrappers, we decided the honor system wasn’t working and charged a dollar for the cup. Not the coffee. Just the cup. All our mugs went behind the front counter. Folks could ask for one, pay their buck and drink all night if they wanted. On an average night we should have made thirty to fifty bucks from the folks who, otherwise, would not have spent a cent. Folks who came in and bought books and such, we’d happily hand a cup to. Everyone gets to do their share.

It wasn’t long before I started seeing people walking around with coffee in vessels I had never seen before. Little ones. Big ones, Even stainless steel thermoses and double-size travel cups. I’d ask for the buck for the night’s coffee and they’d show me their one quart mason jar, telling me they had brought it from home so no need to hand any cash over to me. I suggested, along with the cup, next time they should bring their own coffee, too. Late nights at the bookstore ended soon after that.

But the workshops continued. Authors, therapists, artists. Booktalks, dances, songfests. I taught a few myself, on occasion.

I had, over the few years prior, been doing a workshop on chants from the Kabala. I had been doing them, recently, at the local Unitarian Universalist Fellowship, at churches as far away as Greensboro, North Carolina, in the forests of Ohio and even in a hot tubs. So why not do one at my own store?

The night was set and we had a very nice turnout of over thirty people. Someone volunteered to watch the register and I set to work. Three rules only. These rules, along with the chants themselves, were taught to me by Rabbi Shelly Isenberg who was the Chair of the University of Florida Department of Religion. They seemed to work for him and they work for me.

Three rules. Everyone stands who is able to stand. I’m tired is not a reason for not standing. We always lose a few at this one. People walk out in a huff because they aren’t going to be able to sit and chant. No full breaths from a full body while sitting curled in a chair. Everyone singing. No gawkers. We always lose a few more at that. When I tell them we’ll be chanting for an hour or so, still more leave. I tell them it won’t feel like an hour. That they will wonder where the time went but people want fast, instant results and they want them easy. They want to slouch in a chair and attain enlightenment from watching other people sing for five minutes. Good luck.

The last rule is everyone comes to the center. I set up four chairs in the middle of what will be our circle and, at some point, each person comes to the center to sit and have the rest of us sing around them, letting them feel the sound, the vibration, the harmony. I often have a person help me make sure everyone gets their chance. I joke that I call her my shill. I tell them, at some point, I’ll be going to the center as well and, please, please, they should not stop chanting just because I have. Always people laugh at this. The twenty or so people who remained did exactly that – laughed. The group had been culled and we were ready to start.

The chants are short and simple. We learned the first one by listening to me say it once, then the group repeating after me. Then saying it with me. Then I sing it on my own and we sing it once together. That’s it. No lengthy process. Nothing written on paper until the end of the workshop. The first time I taught this I passed out the chants, with their translations, on paper before we started. Then, with the chants written down, people read them over and over instead of singing, looking at the paper the entire time.

People worried about losing the words. They always do. Don’t worry, I tell them. There is power in the tune itself. Hum, tone, sing dai de dai like we have all heard rabbis do. The tunes have lasted a thousand years. Two thousand years. There is power in the sound. Never worry about the words.

We sang our first chant, all in our circle, four times. It was practice, it was invocation, it was lovely.

Hineyni / osah (oseh) et atzmi / Merkavah l’Sh’kinah / Merkavah l’Sh’kinah

Hineni is “here I am.” Oseh (Osah for the guys in the group) et atzmi is “I make myself become.” Sh’kinah is, literally, the Presence, but a distinctly feminine manifestation of the divine presence, so “Goddess” is a good translation. But not a particular Goddess and definitely not, however, the word for small-g goddesses. That’s what Craig R. Smith told me, at least. And I believe him.

Here’s how Shelly translated it: Here I am! / I make myself / A chariot for the Goddess. I like that. That’s how I translated it then. That’s how I translate it now.

We learned the next chant.

Ana / El na’/ R’fa na lah. That simple. I sing it once through before telling them what it means. Please / Strong One, Oh Please / Heal The World (all)(Nature) Please.

Here is what Craig R. Smith says about it.

Ana and na’ both mean “please,” loosely. It’s somewhere between begging and pleading and a demand, so it’s closer to “oh please, NOW!” El means strong one. It’s the same root as other strong words. For example, the word “ayil” is a ram (strong one of the flock), “ayal” is a stag (strong one of the forest) and “eyal” is strength. R’fa is heal. Tradition teaches prayer need not be lengthy or elaborate. This is the earliest known Jewish prayer for healing, uttered by Moses as a petition on behalf of his sister, Miriam: “El na, refa na lah, God, please heal her, please.” ‘Lah’ is ‘her’ and the Kabalists say this is to be expanded to all nature.

*****

It is done four times, steady, rising, steady, falling, then starts over again, again, again, again, again. Ten minutes, twenty minutes. An hour. Voices rise and fall. Voices high and low. Melding, separating, harmonizing, combining into overtones no single voice creates. A circle of sound as, one by one, two by two, people come to the center, sit, vibrate throughout, breathe, heal. And all the while, a sound around it all, a tone at once over the overtone and under the lowest voice. It permeates and surrounds and whence it comes we’ve no idea.

An hour. An hour and a quarter. An hour and a half and the chant slows, quiets, takes longer breaths, then ends all at once as if by a cue, unheard and unseen. Silence.

What did you experience? I saw the colour blue everywhere. I could not stop singing. It was not my voice. I felt waves. I was connected. My body sang as I stood. I felt calm. Calm. No time passed.

Water passes around. Some sit, some pace. Some wonder what the sound was, that sound over the sound, that sound under the sound.

I walk to the far window, the window toward the back, for some space. To look out, to look down and see the grass wave through the thick glass and notice something new. Powder. Flakes. Chips on the wood sill. The caulking around the window is loose. The window, vibrating in the frame has loosed the old glazing. The window, vibrating in the frame, sang.

We gather again to say goodbye. A short chant only, easy to learn and in English. We make two lines facing each other, close to each other, holding hands with the person to my right, holding hands with the person to my left, close enough to hug the person I am facing, each line joining hands at each end. We are a circle pressed to a double line. We look into each other’s eyes and chant, then move to the right, look into another set of eyes, sing, move to the right.

Come let us light up our hearts.
Come let us light up our homes.
Breathe in,
And breath out
Making circles of love.
Oh, come, let us light up the world.

Move to the right, look into those eyes, sing, move, look, sing. Her eyes, his eyes, my eyes.

Full circle. No one ends. We go round again. All is quiet. All is done.

*****

The next day we came to the store a little before nine in the morning to discover the phone wasn’t working. In the very back of the building was a large room, concrete floored, with a separate entrance. It appeared to be a machine shop from the old gas station days and one could not get to it from the inside. I walked there now, through the front room, through the large workshop area, past the small office in the back we rented to a fledgling acupuncturist, out the back door and around to the right. I knocked on the door. This was the landlord’s office.

Michael Rose owned the building and the house next door. Actually, it was one property with two buildings. He also owned a new age store not far from us. On top of these ventures, he was the U.S. importer for Blue Pearl Incense. When he was in town he was a good landlord and a more than decent person. Usually, however, he was out of town. Often at an ashram in Sarasota or India or who knows. Today was unusual and he was in his office. But his phone was not working either. Together we walked around the building to look at the lines.

It was a calm summer. There was no storm the night before. And so we were quite surprised to see, before we ever got to the phone lines, a thick black wire hanging from the tall utility pole a few feet from our building lying slack from the roof.

The wires were intact leading to the house on the property, parallel to our store, so Michael knocked on the door to use their phone. The line from their roof was still attached to the poll. It was not long before a gentleman from the phone company arrived.

It didn’t take him long to fix it though he had to run a new, longer line. That seemed a bit strange. Why not just attach the old one? Would making it longer keep it from breaking?

When I asked, with Michael looking up at the new line, the repairman just shook his head. He said the building had shifted nearly two inches and that had put enough strain on the line to pull it off. How it shifted, he’d no idea. He’d seen this after floods or, more rarely, large storms. Our area is not known for tremors and, if there had been one, certainly there’d been more lines pulled off than just ours.

He left. Michael shook his head. Tall, heavyset, usually smiling, he stared concerned up at the roof. I told him I thought I might know what happened and asked if he would come inside and look at a window.

I lead him to it and he immediately saw the flaked glazing and the powder on the sill.

“We had a chant workshop last night. We wondered what the buzzing was.”

He breathed in heavily and out again, aiming at the window sill and blowing the powder into the air. He was more than familiar with chanting, with sound and with vibration. He also had been invited to participate. But, still I had not expected him to actually be happy.

But happy he was. His eyes squinted and his smile grew wide and he laughed.

“Fantastic. I wonder what other damage you guys did. Other than moving the building. Can you break it?” Can you break the window?”

“I have no idea. Why would I?”

“Do it. Break the window next time. I’ll replace it. It’ll be worth it if you can do it. I want to see.”

And so the next workshop was set but this time we called everyone we knew who would be the slightest bit interested. When they hesitated, I’d tell them the goal.

No, no charge. Just show up. Show up and sing.

Never underestimate the power of promised destruction. People came just for the opportunity to sing a window broken. People brought people. Small folk and thin folk with voices high and piercing. Big folk and squat folk with voices booming and deep.

More than forty people were there, in that room. We were not crowded and had space between us as we stood in one large oval. Four chairs were set in the middle. We were going to do this right.

Dusk came. Held in the air, a red thread could not be told from a blue one and so it was deemed night and we sang our invocation. It was livelier than usual but the invocation quieted the spirits and settled the energy.

Then, on to the chant. Many had been to the last workshop and knew the chant but we taught it from scratch. Why not? It doesn’t take long and I wanted everyone to get as much out of this workshop as possible. If we didn’t break a window, we should still all leave with something we learned and a story to tell.

Ana / El na’/ R’fa na lah. Ana / El na’/ R’fa na lah. Ana / El na’/ R’fa na lah. Ana / El na’/ R’fa na lah. Down low. Ascending. Up high. Descending. Down low. Ascending. Up high. Descending. Voices mixed, changed, created other voices. Forty felt like fifty, like eighty, sounded like a hundred. The space felt vast, the room felt small, people walked to the center, vibrated visibly, found harmonies. The pictures on the walls clattered. The hum was evident. Obvious. It was loud and came in waves, different this time. Higher, oscillating, changing. Was it one of the windows? Was it one of the two large panes of glass separating the rooms? Was it something else? No matter, we continued and continued and the sound gloried in its being sung.

Time past unnoticed, the ineffable cue was felt and we slowed, quieted, stopped. We sang our last chant, each looking into the eyes of the person across in a double serpentine bent at the walls. Again, it was quiet.

So quiet. We just stood there. No one wanting to talk. I asked no one to tell what they saw, felt, heard. I asked no one to share their experience. The silence told the story.

No one rushed to the windows.

But after a while I walked to the front window to look out and see the moon rising. I looked up to see it over the trees, bright and beautiful. I stood, staring through the window.

And what was this? In the high left corner, small small, a crack. Visible if one looked but nothing terribly noticeable. Still, a crack. We had done it. We broke the window. Not shattered, not busted, but broken nonetheless. In the end, I’m glad it was small. The perfect result in all ways. We did what we set out to do but the window could stay, as it had, for nearly a century. We could still see the grass wave, convoluted, from the thickened bottom. The glass, as originally placed, would continue on. Of that, too, I was glad.

Because, if you get very close, if you listen very carefully and very near, on a quiet quiet day, you can hear the recorded hundred years – the rumbling cars and trucks, shoes on raised wood floors, thunder and pelting rain, laughter, the harmony in the broken glass.

 
9 Comments

Posted by on November 20, 2009 in Gainesville, philosophy, Religion

 

Tags: , , , , , , , , , , , , ,

My House has no Spirits

My house has no spirits.

We don’t ascribe to all that can be read in the many books of feng shui that can be found in nearly any bookstore. I have a few on my own shelves, as well. But even those we don’t follow. Not really.

It seems what is right in one culture is not so in another. What one country, or one people, think is bad luck, not beneficial, may bring blessing in another. I, for instance, very much like exposed beams. The feng shui books tell me to cover them or, at the very least, to place a flute or staff in the rafters. They advise us in the use of fortune corners and love corners and corners for this, that and the other thing.

Nearly none of which we follow.

But we do follow the principles behind these rules, the concept of space and the flow of energy, the movement of people and air, light and sound in a home. And so, our corners are softened with long sticks of bamboo, a didgeridoo or a tall flute. None of our furniture protrudes past walls to block a walkway or into a hall, we don’t have our windows covered with furniture. Our kitchen table is not in view of the bathroom. That’s just makes sense if you think about it, but many homes have bathrooms right next to the kitchen. “Excuse me,” you say, getting up from dinner with friends, walking to the bathroom five feet away so the dinner guests can wonder whether that is the kitchen sink or your toilet running. Some guests won’t use a bathroom in view or earshot of the table. And the sound a toilet flushing is so very appetizing.

We do have a mirror in view, up high, at the top of the wall you see as you walk into the house. It confuses spirits who don’t belong in the house. Or so the theory goes.

Spirits. There is the central idea. The spirits of the house. What makes them comfortable and allows the household spirits to live in harmony with the house and the land and the more corporeal inhabitants? Find the answer to that and you have feng shui. And this is what the feng shui books try to tell us with their compasses and diagrams and rules. But the spirits in my house are not Chinese spirits. I need the spirits in my house to be happy, not the ones in China.

But my house has no spirits.

I came to this realization this evening while listening to a television program that had a brief reference to feng shui. It hit me, suddenly and strangely, my house had no spirits. And I started to cry. Just a little, but the tears were there and a deep sense of sadness within.

When we looked at this house, it was what we could afford. It was what we could get financed for. Not too old, newly refitted with the type of contractor-grade carpeting and paint and fixtures one would expect slapped into a home to make it salable. We weren’t blind to that. We needed a house we could move into then, not later, and didn’t have the money just then for repairs.

The house we wanted, twenty thousand more and needed twenty thousand in repairs, felt alive. We wanted it. But we had a month to move in unless we wanted to renew our lease for a year which removed that house as an option. But it was vibrant and alive. It had spirit. Or spirits. Or both.

So we bought the house ready to move into, the one we could afford. We said, before long, we’d make it ours. That was three years ago

So far, we ripped out the carpet. It became stretched and beyond usable within the first year. We cleaned the terrazzo beneath but still have not repaired the nail holes. We painted the master bedroom, but that was a year ago and we still haven’t removed some of the blue painter’s tape. We painted my office. We used the best canister vacuum on all the house’s carpets and floors alike, we had to get this place spotless. We bought a used but comfortable couch but that is it as far as furniture. We had many plans to green the home, to make it more ecologically friendly, but, other than the ducts and insulation, which were paid for by Florida Power and Light, and changing all the light bulbs, we’ve gone as far as we will. We compost, but there is no will to garden here. The plans for green are gone.

Gone also are the plans to close in the carport, to move a wall and enlarge the living room, to screen in the patio so we can enjoy dinner outside. Gone are so many plans I can’t even remember most of them. Many low-cost. It’s not for want of money. We just don’t care.

We don’t even want to put screws back into the light switch. There’s just no motivation. None.

And no spirits either.

We sensed something wrong after we moved in. My wife, perhaps, before we moved in. But we didn’t know quite what it was or even what to do with it. This seemed our only option. We took it.

And it feels strange. We lived in trailers we liked. We kept them well and fixed them, improved them, made the homes.

Our home in Gainesville, smaller than this by far, was alive. The land was alive. The trees were alive. We improved, changed and enlarged that home. Pulled carpet and placed wood floors. Made wood baseboard, hung our cast iron from hooks in the kitchen ceiling, built small wood decks at the front and back doors to catch the dirt as one came in, planted trees, built stone circles, hung parachutes, made gardens. The house was happy. The spirits were happy. We were happy. Still we miss that house.

But here? I think of the houses I have been in through Palm Bay and Melbourne. Some empty and void, some alive. Nice houses empty. Some not so nice ones, full of life. Vitality seemingly having nothing to do with the youth or state of the house.

So what to do? Toward the ocean? To a creek? Across town? We aren’t sure, but something has to change. Soon.

We miss the life. We miss the happy spirits. It’s time to move.

 
2 Comments

Posted by on August 5, 2009 in Culture, philosophy, Religion, Social

 

Tags: , , ,

Night Garden

It was around eleven pm and I started feeling hungry. I’m not sure if this is my stomach or my brain. I had a cup of black rice with about a cup of cooked vegetables for dinner around seven. Yet, since ten, I wanted more.

I opted for a bowl of organic Cheerios-esque cereal with almond milk. Not long after – not even after, halfway through the bowl, actually – I regretted every spoonful. So I continued, more and more loathing building with each mouthful until I finished the bowl, now empty of cereal but full of contempt.

Having eaten, it being about a quarter after eleven, I have to take a walk. While I know this does not undo what has been done, there is a part of my brain that tells me that is precisely what it does. A part of my brain exists that says this one action, talking a walk, will undo the other action, the eating of the cereal. A crazy part, no doubt. This is not something of which I am unaware. But had this part spoken up before the cereal, I’d be in bed now.

So I put on my socks and sneakers, collar and leash the suddenly ecstatic dog, and out we go.

Today it stormed. This evening it stormed. I could hear the frogs and various un-named creatures through the windows. So, while I would normally take my MP3 player with me, this time I leave it at home. While normally I’d listen to lectures on physics, or religion, or recorded books, tonight I will listen to the sounds of the natural world, all wet and happy, awake and loud.

We leave through the back door, quietly, as my wife is sleeping, grabbing the bamboo short staff. There have been, as of late, stray, large, unfriendly dogs following us on our walks. Dogs in pairs and triplets, one at our heels, one on each side, each pushing me into the other. Growling and showing teeth. Dusty reacts very little to this. I tell them to leave and they do, then return a minute or so following closely, more closely, at our heels and side once again. I tell them there will be one fewer if I find a stick. When I do, they leave me before I can pick it up. Since I have carried this thirty inch long, one inch thick bamboo, they have not approached.

Through the yard and out the gate to the sidewalk. I attach the free end of the leash to my belt loop and my dingo trots along my left side, leash loose, looped, swaying as we walk.

I don’t see her, of course, walking next to me. One side is the blind side and the other side is the one with very little peripheral vision, so I need to trust her. And I do. I know what she is up to. I can tell where she is by the slight tugs on the swaying leash. When she gets a sandbur, and we have some versions of cenchrus here that appear to have been developed as devises of torture by the SuperDevil, I can tell immediately by the change in her gate, the different rhythm in the paws on pavement, the change in the sway of the leash.

A short walk. Two and a tenth miles. I walk this in the morning in thirty-five minutes which is a shade under four miles per hour and quite good for a fellow with my leg-length. Far too fast for an extended conversation which makes the dog a perfect partner. Tonight, though, we’d take our time and walk for the air and the sound.

The rains have left the night cool. Wet. It feels like home. Not a specific home, not a specific place, but home, a home faintly, distantly recognized, comfortable, familiar, inviting and kind. The wind is easy and the frogs are singing. Insects are buzzing. As we walk, Dusty’s nails clack on the sidewalk, insects tick in the taller grasses. There are croaks and calls and buzzes.

I place the staff, lengthwise, on my right shoulder, a foot and a half or so behind me, a foot and a half or so before me. It balances easily, seesawing from time to time, swaying in and out now and then, like a compass needle. This will keep my posture in mind as we walk.

I wonder what sings in the grass. Not names, not labels, just what is. So many creatures and so few found. So few named. Many people think we know all of life on the Earth, but here, right next to me, could be life unknown. There very likely is.

Very few have any interest in this. You could gather all the taxonomists in the world into one small hotel. Experts on fungus? The world’s mycologists could meet at a Day’s Inn conference room.

In The Diversity of Life, Edward O. Wilson describes the work of one botanist who spent a few days in Borneo and discovered over one thousand new flowering plant species. More discovered in half a week than the total of what is known in North America since we have been keeping records. A pair of Norwegian scientists, as a lark, picked up two samples, only one gram each, of soil from a beech forest near their lab. Carefully analyzed, they found between four and five thousand separate bacterial species in each sample. More than is recorded in the best known record of things microbial, Bergy’s Manual of Bacteriology. Over nine thousand species in two pinches of soil taken from no place special. In Kenya, four new species of millipedes and a new tree, a big tree, is found.

Such is the myth of naming. Such is the idea that we explore, thirst to discover, to mark, to label, divide, organize. We don’t care, most of us.

I don’t care for names. But I listen as we walk, wonder what might be singing I have never heard singing before. Maybe something is thrumming with life, just beneath my feet, no one has ever seen. Maybe.

Bamboo leaves rustle. Jasmine glows under the three-quarter moon. Angel trumpets hang, moonflowers open as we pass. A rabbit is sitting by an in-ground pool behind a house no one has lived in for over a year. Owls call. Bats dart. Dusty, from time to time, walks out slightly ahead, looks this way and that. When I follow her gaze, I see cats.
Lives in the trees as we approach silence as we walk under them and resume as we pass.

I bend forward and the staff slips off my shoulder and down into my right hand. I twirl it forward, back, round and round, behind me, under my arm. I flip it over my hand and into my left to do the same. My dog never notices. I place it on the left shoulder, grab the front with my left hand and the back of the staff with my right, pulling down, bringing my shoulder lower, digging into the muscle, ironing it with the broad bamboo. Over the back and onto the right shoulder for the same. A large toad crosses the sidewalk in front of me.

I leave the staff to balance once again. Blue lights of TVs brighten and fade, one person argues with another, cicadas call, moaning gains intensity, breathing quickens rhythmically, gains volume, slackens, softens, intensifies again, a dog barks, a baby cries, there is buzzing in the grass, someone says they are not coming back. A car starts.

 
3 Comments

Posted by on June 3, 2009 in Food, Nature, philosophy

 

Tags: , , ,

Poetry as Power: From Spellcraft to Statecraft

I have been asked by Craig Smith, he of “Notes from the Dreamtime” fame, to post my notes for a workshop I often teach.

He posted a blog entry called Poetry’s Power and thought of my workshop, which I am proud to say he has participated in twice.

These notes are designed not to be read at the workshop but as fodder for discussion. I tell participants that I am happy to read for an hour or two, but it is my desire I be interrupted at every turn with question, comments, poetry of their own. It is meant to create interaction and creative thought on the state of poetry, past and present. It is meant to open a few eyes and a few ears to the place of poetry in our culture.

So, imagine yourself in a group of ten, twenty or thirty people, all eager to listen and share.

These are the notes we never get through.

* * * * * * *

Poetry as Power: From Spellcraft to Statecraft
A workshop by Adam Byrn Tritt

It is difficult
to get the news from poems
yet men die miserably every day
for lack
of what is found there.

(William Carlos Williams, from “Asphodel, That Greeny Flower”)

From as far back as there are records, poets have been by the side of the monarch in court and in battle. The words of the poet were known to be magic and an insult from the poet could sway a battle. This post was often called the Jester. He spoke the truth, did so without fear and did so in rhyme. His words had power.

Words have meaning, rhythm and sound. Their power comes from the vibration of these three. But, sometimes, the rhythm and sound are all that is needed as these impart their own meaning.

Prayers are in the form of poems and songs. A rabbi taught me . . . if you don’t know the words, hum. There is power in the tune, in the rhythm and sound.

The difference between the right word and the almost right word is the difference between the lightning and the lightning bug

 

(Twain)

Poetry is just the right word, the right sound, the rhythm that conveys just the right feeling. In a spell, we want to create just the right vibration, at a state event, at a prayer, we want just the right meaning and to leave no room for a meaning other than what is intended. Poetry is meaning, sound distilled until there is no doubt left. Anything that is unsaid is as carefully crafted as what is said. Hence, poetry becomes powerful in its economy, its concentration and its intention and all of this is built on carefully constructed meaning and sound.

Spells are often placed in the form of rhymes. Poetry has power in the natural and supernatural realm. But as important as the poetry is, the poet is a position of even greater mystery. Our Monarchs and presidents have poet laureates. Chaucer was paid in wine. Our own national poet laureate is paid less than a beginning school teacher but is expected to compose and appear at affairs of state and the position so contentious an anti-laureate is voted upon as well. Only three US poets, Piercy, Walker and Angelou, make a living from their art. Yet, despite this, poets have honours of which other artists can only dream.

We will explore the power and place of poetry and rhyme in ancient and modern culture and religion and leave you exploring for yourself how we can use poetry in both our magical and ordinary lives, as though we should be able to tell them apart.

Poetry has power. I once taught at a public high school where poetry could not be taught without permission slips being signed. One child became upset about one poem. One parent called.

I was asked to head up a poetry reading at a book night at Barnes and Noble to benefit the school. I wrote this and dedicated it to our Principal.

Gather your permission slips, parents, teachers,
All school activities possess the possibility of danger, always
An unsuspecting student may come back broken,
Different, changed or
Not come back at all. Some tender child
May come back
Not a child at all.

Children know some activities possess danger,
We cannot wholly shield them. These are undertaken by
Brave students must have permission slips during
Such activities may result in loss, or gain
Unknown results.

Read the fine-print
Parents, your children may not come back
The same tender child may not return to you
As you remember.
Sign to state your contrition
Your baby might grow up different
Than you had anticipated. Beware.

(Adam Byrn Tritt)

Poetry is not to be taken lightly. It is not for the faint of heart.

Obviously, poetry is political.

The Chinese word for poetry, shih (詩), is composed of two idiograms. One, yan (言), means “word; language” & the other, szu (寺), means “temple, monastery.” Hence, poetry is a “temple of words.” Yan itself is composed of t’ou (頭) “above” (heaven, Tao), erh (二) “two” (earth, duality), & k’ou (口) “mouth” (pass). The mouth, the sound that connects Heaven and Earth. Poetry, The Temple of Words, the Great Connector. Shakespeare must have intuited the Chinese ideogram for poetry in A Midsummer Night’s Dream V.1.12 (1595):

The poet’s eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven
And, as imagination bodies forth
The forms of things unknown, the poet’s pen
turns them to shapes, and gives to airy nothing
A local habitation and a name.

The Chinese words for culture is wen hua (文化) meaning “literary” or “transformation.” We see the Chinese looked at words, at poetry, as a definer of culture and civilization. They connected poetry to change, transformation and alchemy.

Muriel Rukeyser spoke of this as well, in her writing about the two different kinds of poetry: the poetry of the unverifiable fact, love, art, feelings, and the poetry of documentary fact, literal accounts of strikes, wars, barbaries. She said, in 1974:

The poet today must be twice born. She must have begun as a poet, she must have understood the suffering of the world as political, and have gone through politics, and on the other side of politics she must be reborn again as a poet.

And so, we have a calling. We have an art and talent with which one is born, a born magic, a way of seeing the world and words which is shaped—forged and tempered—by the world and then set out again. A natural skill honed. It is a synthesis of the gift of the gods, heaven, and the practices of men, of Earth. It is an alchemy.

As for alchemy, the poet Gary Snyder tells us:

As for poets
The Earth Poets
Who write small poems,
Need help from no man.

The Air Poets
Play out the swiftest gales
And sometimes loll in the eddies.
Poem after poem,
Curling back on the same thrust.

At fifty below
Fuel oil won’t flow
And propane stays in the tank.
Fire Poets
Burn at absolute zero
Fossil love pumped backup

The first
Water Poet
Stayed down six years.
He was covered with seaweed.
The life in his poem
Left millions of tiny
Different tracks
Criss-crossing through the mud.

With the Sun and Moon
In his belly,
The Space Poet
Sleeps.
No end to the sky—
But his poems,
Like wild geese,
Fly off the edge.

A Mind Poet
Stays in the house.
The house is empty
And it has no walls.
The poem
Is seen from all sides,
Everywhere,
At once.

Power has often been associated not with words, certainly not with Poetry, but with physical might and control over others. Again, Snyder tells us:

We all know that the power of a great poem is not that we felt that person expressed himself well. We don’t think that. What we think is, “How deeply I am touched.” That’s our level of response. And so a great poet does not express his or her self, he expresses all of our selves. And to express all of ourselves you have to go beyond your own self. The Zen master Dogen said, “We study the self to forget the self. And when you forget the self, you become one with all things.” And that’s why poetry’s not self-expression in those small self terms.

A poet is indeed a priest in a temple of words, that power is a voice linking heaven with earth. That is a poet’s real work. A poet’s work is to show us the ordinary in a way that makes it new and fresh, perhaps, even alien and to take the alien and show us how it is familiar.

Poem
by William Carlos Williams

As the cat
climbed over
the top of
the jamcloset
first the right
forefoot

carefully
then the hind
stepped down

into the pit of
the empty
flowerpot

And we value this. We value this after it is done, though we neither value the effort of the poet him or herself. How may poets make a living from poetry?

Williams still had to practice medicine. Most poets teach, or work at drug stores, newpapers. Few even work in the arts. E.E. Cummings, a staple in the cannon of American poetry, could not get his work published even. His mother had to self publish his first collection.

We honor poetry after the fact.

 

For the Young Who Want To

by Marge Piercy

Talent is what they say
you have after the novel
is published and favorably
reviewed. Beforehand what
you have is a tedious
delusion, a hobby like knitting.

Work is what you have done
after the play is produced
and the audience claps.
Before that friends keep asking
when you are planning to go
out and get a job.

Genius is what they know you
had after the third volume
of remarkable poems. Earlier
they accuse you of withdrawing,
ask why you don’t have a baby,
call you a bum.

The reason people want M.F.A.’s,
take workshops with fancy names
when all you can really
learn is a few techniques,
typing instructions and some-
body else’s mannerisms

is that every artist lacks
a license to hang on the wall
like your optician, your vet
proving you may be a clumsy sadist
whose fillings fall into the stew
but you’re certified a dentist.

The real writer is one
who really writes. Talent
is an invention like phlogiston
after the fact of fire.
Work is its own cure. You have to
like it better than being loved.

Part of this is because we forget how powerful words are. People only faintly recall the worth and power words once possessed. Words gave order and shape to reality: To know the name of a thing was to perceive its essence and therefore to master it. To name a thing not present was to summon it into being, so that the thing itself existed in the words for it.

“I was many things before I was released, ” sang Taliesin, a man thought by many to be the Merlin of lore. “I was a word in letters.” A name could be moved and manipulated and placed in new arrangements, and all of these activities would affect the object named.

The outward sign of the inner powers of a wise woman or man was the knowledge of words and names and the songs made from them. This was true of the celts and of the native American. That is why so many shamans and workers of magic prefaced their spells with transformation songs—verses that claimed they had taken the shape of everything in creation, from raindrops and starlight to bubbles in beer, and thereby had gained infinite understanding. Words were the bricks of all charms and incantations, all spells, riddles and conjurations. Look at the words we use. Spell from the German Speilan, or story. And Incantation from the word chant. In Hebrew, the one who says the prayers is the cantor, the singer the enchanter, the one with the incantations. He binds us to god with words even if the words are unknown to us.

Our own King Authur, JFK, had this to say about poetry and the Poet Laureate at his inauguration:

Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself. When power leads man towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment.

Poets have had the power to affect culture even while they are outside of culture and even when part of a despised minority.

Pope. Swift. Catholic, diminutive, sickly.

Mr. Pope

Mr. Pope did not demur
To attack a poet he’d scarce endure.
His whetted wit exposing flaws
With metric feet and raptor’s claws.
This wasp would sting at authors dim
Even those who feared not God, feared him.

(Adam Byrn Tritt)

Not respected. Not paid even when feared.

Not paid. But certainly valued even when reviled. Right up to, but, it may seem, no including present time, poets were outside rebuke. It was the poetry of Wilfred Owen and Sigfried Sasoon that helped bring what WWII was really like home to the masses and was as instrumental doing so as the verse of Phil Ochs was during Vietnam.

Suicide in the Trenches
by Siegfried Sasoon

I knew a simple soldier boy
Who grinned at life in empty joy,
Slept soundly through the lonesome dark,
And whistled early with the lark.

In winter trenches, cowed and glum,
With crumps and lice and lack of rum,
He put a bullet through his brain.
No one spoke of him again.

You smug-faced crowds with kindling eye
Who cheer when soldier lads march by,
Sneak home and pray you’ll never know
The hell where youth and laughter go.

Disabled
by Wilfred Owen
(First and last verses)

He sat in a wheeled chair, waiting for dark,
And shivered in his ghastly suit of grey,
Legless, sewn short at elbow. Through the park
Voices of boys rang saddening like a hymn,
Voices of play and pleasure after day,
Till gathering sleep had mothered them from him.

About this time Town used to swing so gay
When glow-lamps budded in the light blue trees,
And girls glanced lovelier as the air grew dim,—
In the old times, before he threw away his knees.
Now he will never feel again how slim
Girls’ waists are, or how warm their subtle hands.
All of them touch him like some queer disease.

There was an artist silly for his face,
For it was younger than his youth, last year.
Now, he is old; his back will never brace;
He’s lost his colour very far from here,
Poured it down shell-holes till the veins ran dry,
And half his lifetime lapsed in the hot race
And leap of purple spurted from his thigh.
One time he liked a blood-smear down his leg,
After the matches, carried shoulder-high.
It was after football, when he’d drunk a peg,
He thought he’d better join.—He wonders why.
Someone had said he’d look a god in kilts,

That’s why; and maybe, too, to please his Meg,
Aye, that was it, to please the giddy jilts
He asked to join. He didn’t have to beg;
Smiling they wrote his lie: aged nineteen years.
Germans he scarcely thought of; all their guilt,
And Austria’s, did not move him. And no fears
Of Fear came yet. He thought of jewelled hilts
For daggers in plaid socks; of smart salutes;
And care of arms; and leave; and pay arrears;
Esprit de corps; and hints for young recruits.
And soon, he was drafted out with drums and cheers.

Some cheered him home, but not as crowds cheer Goal.
Only a solemn man who brought him fruits
Thanked him; and then enquired about his soul.
Now, he will spend a few sick years in institutes,
And do what things the rules consider wise,
And take whatever pity they may dole.
Tonight he noticed how the women’s eyes
Passed from him to the strong men that were whole.
How cold and late it is! Why don’t they come
And put him into bed? Why don’t they come?

Dulce et Decorum Est
by Owen
(Last verse)

 

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys! — An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling,
And flound’ring like a man in fire or lime . . .
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie; Dulce et Decorum est
Pro patria mori.
“The Death of the Ball Turret Gunner,” by Randall Jarrell, was published in 1945. What did it do? Listen.

From my mother’s sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.

Prior to this, most people actually did not know how the B-17s and 24s fought and protected themselves. Jarrell, himself, thought it was necessary, but also that the people in the war with the shortest life expectancy deserved to have their fates understood by the people for whom they fought. He did this in an obvious, yet amazingly poetic and political way. It was widely distributed. Poets enjoyed an immunity.

That immunity seems to be waning. In 2003 First Lady Laura Bush canceled a White House poetry symposium in fear of finding poetry and poets critical of the administration and its policies. She feared the invited poets would recite poetry against war. Laura Bush defended her actions citing her freedom of speech. A spokesperson for the First Lady said, “While Mrs. Bush respects and believes in the right of all Americans to express their opinions, she too has opinions and believes that it would be inappropriate to turn what is intended to be a literary event into a political forum.”

Poets around the world have cried foul. Two former U.S. poets laureate, Stanley Kunitz and Rita Dove, have criticized the cancellation. The result was, instead of a symposium at the White House with one hundred poets, a backlash, anti-war symposium with over 3,600 and a collection of poetry assembled on the topic of which I am delighted to be a part.

Far from showing a waning power, this demonstrates the power of poetry is still quite understood and, in some cases, feared. Kings, and would be kings, know what a poem can do.

“What are big girls made of?”
by Marge Piercy

The construction of a woman:
a woman is not made of flesh
of bone and sinew
belly and breasts, elbows and liver and toe.
She is manufactured like a sports sedan.
She is retooled, refitted and redesigned
every decade.
Cecile had been seduction itself in college.
She wriggled through bars like a satin eel,
her hips and ass promising, her mouth pursed
in the dark red lipstick of desire.
She visited in ’68 still wearing skirts
tight to the knees, dark red lipstick,
while I danced through Manhattan in mini skirt,
lipstick pale as apricot milk,
hair loose as a horse’s mane. Oh dear,
I thought in my superiority of the moment,
whatever has happened to poor Cecile?
She was out of fashion, out of the game,
disqualified, disdained, dis-
membered from the club of desire.

Look at pictures in French fashion
magazines of the 18th century:
century of the ultimate lady
fantasy wrought of silk and corseting.
Paniers bring her hips out three feet
each way, while the waist is pinched
and the belly flattened under wood.
The breasts are stuffed up and out
offered like apples in a bowl.
The tiny foot is encased in a slipper
never meant for walking.
On top is a grandiose headache:
hair like a museum piece, daily
ornamented with ribbons, vases,
grottoes, mountains, frigates in full
sail, balloons, baboons, the fancy
of a hairdresser turned loose.
The hats were rococo wedding cakes
that would dim the Las Vegas strip.
Here is a woman forced into shape
rigid exoskeleton torturing flesh:
a woman made of pain.

How superior we are now: see the modern woman
thin as a blade of scissors.
She runs on a treadmill every morning,
fits herself into machines of weights
and pulleys to heave and grunt,
an image in her mind she can never
approximate, a body of rosy
glass that never wrinkles,
never grows, never fades. She
sits at the table closing her eyes to food
hungry, always hungry:
a woman made of pain.

A cat or dog approaches another,
they sniff noses. They sniff asses.
They bristle or lick. They fall
in love as often as we do,
as passionately. But they fall
in love or lust with furry flesh,
not hoop skirts or push up bras
rib removal or liposuction.
It is not for male or female dogs
that poodles are clipped
to topiary hedges.
If only we could like each other raw.
If only we could love ourselves
like healthy babies burbling in our arms.
If only we were not programmed and reprogrammed
to need what is sold us.
Why should we want to live inside ads?
Why should we want to scourge our softness
to straight lines like a Mondrian painting?
Why should we punish each other with scorn
as if to have a large ass
were worse than being greedy or mean?

When will women not be compelled
to view their bodies as science projects,
gardens to be weeded,
dogs to be trained?
When will a woman cease
to be made of pain?

 

 
1 Comment

Posted by on November 30, 2008 in Culture, History, philosophy, Religion, Social, Writing

 

Tags: , , , , , , , , , , , , , , , , ,

Seven Questions for Craig Smith

Craig Smith is an author and web designer, a translator to and from dead languages, the well-respected and well-read author of the blog Notes from the Dreamtime, the translator of The Inclusive Bible and a shaman. Even better than that, he is my exceptionally good friend.

Craig has been interviewing interesting characters for some time now. But no one has interviewed him. While I could not believe such an oversight, I sought to correct it. The result is below.

Enjoy.

________________________

Late Monday night, Adam emailed me and asked, “So who’s doing your interview?” I replied that he was the first to offer. On Tuesday morning, these questions appeared in my mailbox. I replied that he was the cruelest human on the face of the planet.

His questions both terrify and exhilarate me, which I guess means they’re good ones.

1. You spend much of your time, it seems, as an editor. Thurber once wrote about editing, “Editing should be, especially in the case of old writers, a counseling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, “How can I help this writer to say it better in his own style?” and avoid “How can I show him how I would write it, if it were my piece?”

Do you prefer to be an editor or collaborator? Or do you play both roles or either role depending upon with whom you are working?

The latter. It depends entirely on the writer.

A good writer—that is, one who has a strong writing style and a good command of the language—needs minimal editing. Then the task is to find overt mistakes (which the writer in haste simply didn’t notice), and occasionally smooth over rough passages where the writer’s intent doesn’t come through clearly. I am very careful not to change their style, and yes, it’s very much the role of a counselor.

The vast majority of writers fall into a second class. They’re not great writers, they’re just writing as a means to an end. These I take a heavier hand with. For a while I got a reputation for being able to cut a piece in half without the writer even realizing he or she had been edited—”You make me sound so good!” is a comment I’ve heard more than once. For them, I honor the writing style they’re trying to establish, but which they haven’t quite succeeded in creating. For them, I am definitely more collaborative.

Occasionally I come across bad writers. Honestly, I want nothing to do with most of them. I don’t want to read them, I don’t want to correct them, I just want them to go away. A few are on the bubble, and if I like the individuals at all, I absolutely want to show them how I’d approach it if it were my piece.

2. You once traveled, though shortly, rather extensively across the U.S. Whether you were in search of something, drawn by something, or leaving something may be of debate, but travel you did, and you wrote about it rather extensively in your blog before stopping short. Many of your readers might think you stopped before a revelation or just at the point you found a portion of your travel unresolved.

A Zen monk once asked, “It is the same moon outside and the same person inside, so why not sit?” Does location really make a difference or is it the process of transition? What did you gain? What did you lose? What is stuck? Could you have done as well staying at home? Does changing location change the person?

“Many” of my readers? Really?

Did I stop just before some major revelation? I didn’t think I did, but maybe you’re right. I had gone all revisionist on it in my mind; I thought I had stopped writing about the trip shortly before I took that long break between last December and this April, but it turns out my last Big Trip post was in March of 2007. I was shocked when I realized that.

Let’s see, when last I left the story, I had just visited Little Bighorn and was heading toward Bozeman. And I guess I do view Bozeman as the gateway to the most significant part of the journey. It doesn’t feel like I’m afraid to dig deep and expose something important, but my behavior may be telling another story. I’ll have to look at that.

That said, each trip post takes a long time to write. At the time I remember thinking I wanted to do some lighter, faster, easier posts, to take a little break. But you and Indigo have rattled my cage long enough; I’ll have a new Big Trip post next week.

Not to put too fine a point on it, but that trip changed everything for me. You know how a lot of people personify Nature, talk blithely about the Web of All Being, and speak of divine immanence as being “the Goddess”? I knew all that, intellectually, but on the trip (somewhere in Washington, if I recall, but I haven’t checked my notes in a while) I had a palpable experience of it.
Does location really make a difference? I have no doubt that it’s possible to have any important growth experience in any number of ways. The same truth keeps knocking on our house until we let it in; sometimes it comes in by the door, sometimes through a window, sometimes down the chimney or up through the floorboards.

But for me, it was important to go out on my own, with two thousand bucks in my pocket (and no credit cards), in a car that really wasn’t all that road-worthy, to follow a quiet but insistent tug in my heart—a “calling,” if you will; to camp out in the national forests and wildernesses, searching for some essentially spiritual experience, rather than trying to go sightseeing; to be utterly alone with my thoughts and the world for an extended period of time. All of which I don’t think I could have gotten sitting at home.

“What did you gain? What did you lose? What is stuck?” Tough questions. I gained an understanding of the living, nonphysical energy that interconnects everything in the material world. I gained a hunger for greater personal and physical freedom. I opened the door just a bit to becoming more authentically myself and less what others expect me to be. I lost a parochial worldview, a limited image of who or what God is. I guess I’m still stuck in Comfortville (I laughed as I typed that, because everything in my life seems the opposite of comfortable): I don’t need to risk my life, physical or emotional, right now. I’m all initiation and no completion. As one of my favorite (and one of your least favorite) poets, T.S. Eliot, wrote:

Between the idea
And the reality
Between the motion
And the act . . .
Between the essence
And the descent
Falls the Shadow.

3. It has been argued that cues for discrimination that are obvious, such as gender or color, are of greater import than those which are not, such as religion or gender preference.
Is this so? Has discrimination affected you and, if it has, has this been your choice to reveal what could be occult and accept the discrimination as burden?

I don’t know that obvious cues for discrimination are of greater import as much as simply inevitable. When you can’t hide, the bigots have a more obvious target.

I came out in 1982, at the age of 26, shortly after my father’s death. I used to describe it as feeling a cloud of judgment over me had been lifted. In time I came to feel that my father had been a convenient excuse for my not being true to myself. On the other hand, when we decide it’s time to make a change in our lives, I think we probably use whatever tool or trigger is at hand to aid us.

For me it was all tied up (as just about everything is in my life) with my spiritual journey. I was wrestling with the realization that the God I knew intimately and the God of conservative theology (and much of society) were in conflict with one another. I knew that my God valued truth in the inner being above all else, so I knew I had to speak the truth about my sexuality even if it meant being damned for eternity: to save God, as it were, I had to be willing to give up God. And the moment I did, I knew that love and acceptance and was the ultimate truth, and nothing else mattered.

I can’t say I’ve faced a lot of discrimination. Some of it is because I’m not terribly fey (though I’m not terribly butch, either), so many people just assume that everyone is straight unless they announce otherwise. And I don’t wear buttons or have gay bumper stickers, and I tend not to announce it unless or until it comes up naturally. On the other hand, I tend to correct people if they make invalid assumptions about me, because (a) it’s nothing I need to keep quiet about, and (b) it’s no big deal. The older I get, the less I care what anyone thinks. To quote that old philosopher, Popeye, I yam what I yam.

In the ’80s, I lost dozens of gay friends or acquaintances—thirty-two to AIDS, one to a gay-bashing incident, two to drug or alcohol abuse. That was pretty awful. And I’ve seen lots of discrimination; I just haven’t been on the receiving end, except for having a few bottles (and epithets) hurled at me. Annoying, but not that big a deal—just some drunken rednecks.

So I don’t feel much of a burden, honestly. I once had a dream in which I was standing at the creation of the world, and God said, “This time, would you like to be straight instead?” I thought a minute then said, “No thanks, I’m quite happy the way I am.” It was a very satisfying dream.

4. Your religious and spiritual experiences are not quite within what we might call the common American experience. How do you define your present spiritual life? How have you come to where you are? Do you find your spiritual life effective? If so, are you more a spiritual materialist than purist—in other words, do you practice to build ego or to gain something, regardless of what that might be, or for the practice itself? Where do you think you are going with it?

I am an animist because I see all natural phenomena as alive. I’m a pantheist because I see God as synonymous with the material universe. I’m a panentheist because I see God as interpenetrating every part of nature and extending timelessly beyond it as well. I’m a Christian because for me Jesus is God enfleshed, and teaches us how we too can become God enfleshed. I’m an adopted Jew, a God-fearer who learned Hebrew to read the Bible in its original language because I wanted to know what YHWH was really saying. I’m a Buddhist because of the life and teachings of Siddhārtha Gautama, and the silence, and the kōans, and the still point. I’m a Hindu because I revere Ganesha. I’m a Yoruba because I was visited one night by the orisha Shango, the sky father, the god of thunder and ligntning. I’m a pagan because I honor the natural rhythms of the earth, the sun, the moon.

But beyond all those classifications, I am a shaman, because shamanism, stripped of its cultural overlay, is simply a toolbox. It’s how the human brain naturally accesses nonordinary reality. It’s plugging into the way the body and the psyche can be balanced and healed. And it’s what underlies all human religion and spirituality, the barebones of our Selves, if you will.
How have I come to be here? Wow. I guess it’s just a straightforward process of following where my heart and spirit have led me. I would say it’s a combination of the theological and psychic shattering that my coming out afforded, and working through decades of chronic depression until I came to understand myself and God (or spirit or the Universe or whatever terminology you want to use) and the world in a radically different way.

I’m not sure what an “effective” spiritual life would be. Does it give me comfort or meaning? Yes, definitely. Does it make my life work better? Yes and no. It doesn’t make me more “successful,” particularly as the world defines success, but it gives me tools to deal with many of the challenges I face, and gives me a context with which I can understand the world better. But I can’t honestly say I practice it as a means to an end, as a tool to get something or become something.

It all comes back to that ineffable Call, the music from the Piper at the Gates of Dawn. I’m like a dog snuffling the air, forever following the scent, wherever it may lead.

5. We all have traits that are annoying. Some of those traits, when found in another, are deal-breakers and we simply cannot abide them. What traits can you simply not abide in others? Which traits mean “I’ll not deal with that person,” and why? Which traits send you running? Of those traits, how much of each is found in you?

When I was a good deal less self-confident (and those of you who know me well will be rolling on the floor by now, because you know that deep down I am a mouse afraid of his own shadow), I was in a relationship with someone I believe has Narcissistic Personality Disorder. One day he gave me a collection of Jane Kenyon’s poetry, and told me to read a poem called “Biscuit”:

The dog has cleaned his bowl
and his reward is a biscuit,
which I put in his mouth
like a priest offering the host.

I can’t bear that trusting face!
He asks for bread, expects
bread, and I in my power
might have given him a stone.

He didn’t need to say so, but I knew I was that dog to him. And more often than not, I was given a stone instead of bread. Much has changed in me since then, and such cruel treatment—toward me, or toward anyone, frankly—is intolerable, and provokes a fierce reaction from me.
I can’t abide liars, though I understand the impulse all too well: the need to protect oneself at all cost, even when telling the truth might be so much easier in the long run.

And yes, the cruelty and the lying that I hate: both of these are parts of me. I don’t know that I hate them because they are in me; I know that I have worked hard to overcome them in myself, and so perhaps I am like an intolerant ex-smoker. I don’t know.

I am impatient and short-tempered with people who give poor customer service (I used to teach classes in how to go above and beyond expectations when dealing with the public). And I am intolerant of people I call “willfully ignorant,” who seem defiant in their lack of education or gentility. Perhaps this intolerance is a form of intellectual snobbishness, but I hope it’s because I love the language so much that when people abuse it, it’s like spitting on something sacred.
Occasionally I’ll run across people whose “vibe” makes me want to either run away or (more likely) do them bodily harm. I can’t explain it. It’s nothing they’ve done or said, really, or maybe it’s everything they do and say. It’s a reaction so visceral and so strong that I have to step outside myself and say, “What in the world is that about?” So far I haven’t found an answer.

6. Tell me about poetry. You say you are not a poet. Why have you said this?

Payback is so unbecoming, Adam.

I am not a poet because I am clumsy at it. (And don’t tell me that lots of people say they are poets who write perfectly wretched poems. Just because a mouse is in a cookie jar, it doesn’t make him a cookie.) I can sometimes shape prose with enough felicity that it sings; poetry needs a much sparer touch, which I don’t often have. Generally the best I can do is take a prose poem and break it into shorter lines.

What I think I do have is a poet’s heart. I think Deloney is a natural poet, despite the fact that his poems always look like paragraphs. Indigo Bunting sometimes comes up with phrasings that are breathtaking. I can see poetry in words. I can even edit poetry pretty well. But I think my natural element is prose. Maybe I just need a larger canvas to say what a poet can express in a few brush strokes.

7. We each have ways we make others suffer. Most of the time this is inadvertent or, at least, not on purpose. How have you made others suffer? Was any of it purposeful? How have you made yourself suffer? Are you doing so now? How and why? To what end?

I have been cruel. I don’t know if my cruelty made them suffer, or if they just shrugged it off. On the other hand, our actions have far-reaching consequences, and even acts of charity may have caused suffering, while acts of deliberate meanness may have brought someone to a new and better place.

I have certainly wanted to make a few people suffer, to make them feel what they put me (or others) through. I have wanted them to have a taste of their own medicine.
But me—ah, that’s the person I have been the cruellest to, both deliberately and inadvertently. I have a running tape in my head (I guess we have to change that metaphor now, don’t we? No one uses tape for recording things anymore!) that tells me what an enormous failure I am, how I always let everyone down, how I never live up to my potential, how stupid and petty and worthless I am. I think I am starting to hear it as old, worn-out programming, and I am trying to say “No, that’s not true,” and replace it with something that heals those old self-inflicted wounds.

Why is that programming there in the first place? Some of it stems from my childhood molestation. Most people who are abused spend their lives trying not to feel dirty and worthless. Some if it is habit—we keep repeating the things we’ve heard repeated over and over; we don’t question, don’t object. We’re sheep at heart, especially when the critical voice in our head is our own. We just say, “Yes, you’re right,” without questioning it. One of the blessings of meditation is that you get to see your thoughts as just thoughts, without attaching any value to them. You get to look at them dispassionately, then decide if you want to keep them or not. So I’m trying to rewrite the old self-destructive script, and I’m making progress. But I don’t know that I’ll be finished anytime soon.

 
Leave a comment

Posted by on September 19, 2008 in Culture, philosophy, Religion, Social, Writing

 

Tags: , , , , , , , ,

This I Believe

About two weeks ago, riding in the car with my wife, we were listening to about the only station, locally, anyone is likely to find in our car – NPR. After the story about the upcoming political conventions the series “This I Believe” aired another in its weekly essays. I have written for the project, which can also be found in print, and while I cannot say I listen faithfully or find every one of the essays a treasure, a few stand out. I can remember hearing them and (this is the important part as a writer) they had an effect on me. As a writer, I could not ask for more praise or better praise. The sheer beauty of writing aside, if a work is forgotten, if a reader is not affected, then the sound and glory are nothing.

My favorite is by Penn Jillette and is called “There is no God.” As much a fan of Thoreau as I am, I cannot help but wish he had written this. It seems to be what he was trying to say through much of his time at Walden Pond. The essay is transcendentalism without the deism. It is a wonder of words and I am appreciative.

What we heard that afternoon in the car was by Sufiya Abdur-Rahman and is titled “Black is Beautiful.” It echoed so much of what I had written on the topic of the dark and lonely side of the headlong rush to assimilation and the expectation that we should all want to fit into a homogeneity so stark that we should have trouble telling each other apart. I am not a fan of Hyphenated-American-ism but what is wrong with have identities? I guess I am more a tossed salad American than a melting pot American.

I was moved to write Ms. Abdur-Rahman. It was rather hard to find contact information but I managed to do so by looking her up on MySpace. I sent a note to her from her MySpace profile.

Ms. Abdur-Rahman,.

I am writing to thank you for your essay on NPR.

As a second generation American, it has been my belief we need not be like everyone else to be an American. Indeed, it has been pointed out, and I feel truthfully, the differences among peoples are one of the things that have made this the amazing country it is. I applaud you essay for pointing out we can be, and should remain, who we are at our core.

I am Jewish. I was raised in the North and now live in the South. I have taken my children to see the Civil Rights Memorial in Montgomery to look upon the names of the heroes there and have pointed to the names of the six Jews next to the rest of those who fought for freedom. I have shown them the my parents took pictures of, when we moved to Miami, that said “No Niggers, Jews or Dogs Allowed.” I have explained that giving up our heritage means giving in. And we held on despite my daughter’s high school beatings for being a dirty Jew, the head start teachers command our son should learn to be a Christian so he can “pass” when he needs to, my own difficulties attaining academic posts because I did not attend the right kind of church.

We moved here during WWII. It was my feeling, after having lost two-thirds of my family, that it would be a slap in their faces to assimilate. My parents though, my grandparents, said “assimilate.” They spoke Yiddish. My parents understood it. I can do neither. Now my daughter, 23, and I are relearning what we lost. We have a long way to go.

Your essay brought the importance of that back to us. I applaud what you are doing and bless you for your struggle.

Adam

Adam Byrn Tritt

Did I get a response? You bet. It was quite a heartfelt note back and I shall not share it here. If you want a note from Sufiya, write her yourself.

 
2 Comments

Posted by on September 5, 2008 in Culture, Family, History, philosophy, Social, Writing

 

Tags: , , , , , , , , , , ,

Seven Questions for Adam: An Interview by Craig Smith

I’ve known Adam Tritt for a few years now, though it simultaneously feels like forever and no time at all. He’s a kindred spirit with enough significant differences to keep things interesting. His blog, Adamus at Large, is where he publishes essays and poetry. He doesn’t post as frequently as any of us would like, but when he does, it’s an incomparable feast of words and ideas.

(Note from Adam: To make this as authentic as possible, I did no revision and answered all questions given without reservation and as the responses came to me. What you see is what was written the first time. I looked back at not one question. I wanted this to be as conversational as possible and not a prepared document.)

1. Why are you a poet?

I am not a poet. What a strange question. To call myself a poet would be terribly presumptuous and boorish. Not only that, but it would set up an unfair expectation and then I’d have to perform. Sit, Adam, sit. Show the folks how well you poe.

I am not a poet, I simply think metaphorically. I think in metaphors about everything. The contents of the world—whether we believe they originate from within one’s head, are a combination of that which is without and the experiences and expectations from within, or come wholly from within one’s head—always rumble around and find things to connect with. Everything is a metaphor. Since I don’t see terribly well and remember nothing of the visual world, I think in words. So I get a picture or a sound and I make them into words.

Well, enough of that and my head fills up, so I write. I can’t stand not being understood so I revise and revise and revise, cutting out everything that is not meaning because I’d hate for people to think something I didn’t want them to. My goal is to lead them to the same metaphoric feeling and understanding I experienced. By the throat, if need be. By the hand, if I can. Though truthfully, by the throat is much more fun.

The poetic model allows me to do this in a way that is deceptively short so people will read it. Otherwise I’d have twenty-six page essays.

I then put it out there for people to read, on the blog, in magazines, in anthologies, and in my own books, because part of me believes Descartes: I publish, therefore I exist. Besides, I like the fan mail and the undies that get thrown at me.

Of course, none of that explains why I also write twenty-six page essays.

Asking why I am a poet is very much like asking why I have two legs. I can’t help it. I’d have a prehensile tail if I could. My wife would love that. It would be like in Venus on the Half-Shell. But I don’t. So I have two legs. So I think metaphorically. So I put everything into words. It’s burden. It’s a pain. I’m simply built that way. It’s not my fault, I swear. I blame my temporal lobe. I once filled an entire sliding glass door with poetry. I write on my office walls. I write on people if they stand still long enough and give me enough exposed area.

2. Your first public reading was at a clothing-optional event, and you performed in the nude. And you’ve written about your visits to the local nude beach, and clearly have no problem with nakedness. On the other hand, you write about how you wrestle with body image, and seem to feel ashamed when you are battling weight. For me, being fat means I don’t want anyone to see me naked, even though I thoroughly enjoyed my one and only visit to a nudist resort, and am a closet naturist (I’ve even been skinny-dipping in my neighbors’ pool while they’re away, when I go over to feed their cat).

So how do you reconcile that dichotomy? How do you find the freedom to be nude with others even during those times when you feel discomfiture over the way you look?

Because I’m ornery. Because, unlike dancing, which scares me silly and I force myself to do, or parties, which scare me sillier and I don’t force myself to do, reading poetry at a clothing-optional gathering flies in the face of so many conventions I have no choice but to do it. I teach myself my fears are meaningless and my self-judgments are baseless and thumb my nose at society at the same time? Hell, where do I sigh up? Can I do it twice?

You can walk all the fire pits you want, jump out of airplanes hoping the chute opens, bungee-jump from any bridge you choose, but for sheer fright, read your poetry in front of a crowd while wearing nothing but glasses.

I always reserve the right to not reconcile anything. No need. What makes sense anyway? I am about as dysmorphic as a fella can get. I just got over yo-yo binge and starvation. I no longer run three miles because I ate a piece of bread. That ended last Thursday. A friend who knows me better than well (bless you Joyce) will notice the look in my eye as we are out to eat and take away the menu and order for me. It’s insane. And so, through all this, while I thumb my nose at the culture I live in I simultaneously thumb my nose at that part of the culture that lives in me and is discordant with my world-view, or at least the view I would like to have of the world.

In my mind, the more I push this particular illusion, the thinner it gets and, sometimes, I can see clearly through it and know it is untrue.

There is another part to this as well. I want the walls, those illusory walls between self and other, to disappear. I want the illusions to go away. I am happiest when I cannot tell self from other. That is a theme in my writing. That is a theme in my spiritual practice. That is a theme in my massage practice and in hypnotherapy. That is a theme in my life. Maybe I know it is true and I am working to make it happen, to experience it as much as possible and bring that to other people as well. Maybe I am just trying to convince myself that it is so. Which depends on when you ask me.

And let’s be clear—I do not seem to feel ashamed when battling weight. I have, in this area, a self-disgust that is deep and abiding. It’s open 24/7 and never takes a vacation. I am not sure where it came from and I’m not sure when it’s going, but my job, since I can’t seem to shake it, is to be happy anyway. Happy with the world around me. Happy with myself. My job is to thumb my nose, even from within, at anything that keeps me from being happy, at anything that keeps the illusion of separateness alive.

Besides, I am awesomely cute.

3. In both “Funeral, Expurgated” and “My Grandmothers Came from the Ukraine,” you talk about the quandary a writer faces over how much personal or familial information to reveal and how much to conceal or change to protect the innocent (or guilty). David Sedaris, when asked if his books should be filed in fiction or nonfiction, replied, “Nonfiction. I’ve always been a huge exaggerator, but when I write something, I put it on a scale. And if it’s 97% true, I think that’s true enough. I’m not going to call it fiction because 3% of it isn’t true.” And I can’t remember which writer says that the first duty of a writer is to kill his family—that is, write as if there were no one to offend, no one who would be upset if secrets were revealed.

So how have you struggled with the issue of “truthiness” in your writing? And what kind of fallout has there been among friends or relatives when you’ve revealed something that they would rather keep quiet?

Some of what I write falls into the category of New Reporting or New Journalism. Some into creative non-fiction. But, regardless of what I write, I have never let the facts get in the way of a good story.

Many have made the mistake of thinking every piece I write is true just because most of it is non-fiction. So the poetry must be as well. Sure, some of it is but much of it is not. Poetry can be creative storytelling just as much as any other type of writing. My daughter never gathered angels in a field. My wife never complained about her life over coffee as I dreamed of moving west. But with few exceptions, what I write is based on the amazement of that which makes up everyday life. So I did almost hit a wall while she was changing in the passenger seat and the monk did make the spoon stick to his nose. But just because most of it is true does not mean it all is. I reserve the right to tell a story from time to time.

Given that, those who read me know if you see a name in the essay, the account is true. Percentage? If you see a name, it happened. If you see my name, I reserve the right to make my life what I choose it to be. If that is after the fact, then that is just fine with me. My memory is fluid.

That said, there are some things I just don’t write. I don’t write things I feel will hurt a person or compromise them in some way. I have made that judgment incorrectly from time to time but I never set out writing knowing what I am putting down will hurt. I can’t do that. It’s not in me. Even if the person has done me harm, I won’t.

There is so much out there to write. There is no need.

As far a narrative therapy goes, that is the truest account, the most full exposition I can manage. Your example of “Funeral, Expurgated” is narrative therapy. So is “The Shadow.” I write them so fully, so completely there is nothing left inside and, in the end, the content is all without and not within.

Many fail at narrative therapy and are sure it does not work. But they just write it once and get it out in the immediacy of the moment. That is ineffective. To work it must be revised and revised and revised again, experienced over and over in the writing, pared down, blown up, filled and emptied until it is all truth as you see it, until it reads like drama and feels real to one and all. Then, and only then, is it out.

In the essay you mentioned I spoke about the potential fallout a writer can experience and the fear that can engender. My wife, I mentioned in the first paragraph or two, said she cannot grasp the bravery of writing in tha manner. Sometime, neither can I.

But I did not think I wrote anything that would hurt anyone. As my daughter had pointed out, if they thought what they did was wrong or embarrassing, then why did they do it? One would think they felt their actions just fine and so why not record them?

But I did hurt some feelings. After it was out for a while my mother calls with some confusing story about an email and a letter and whatnot. It took me quite a while to put the bits together and figure out it was about the essay. The feeling was, I gathered, that I had aired the family’s dirty laundry in giving the blow-by-blow account of the funeral days.

I have a very small family. Now, it is much much smaller.

4. A casual reader of your blog may be confused about your spiritual inclinations. Are you a Buddhist? A Jew? A Unitarian? A Pagan? How do you reconcile all your disparate beliefs? Or are they really disparate after all?

I am a Jewitarian Buddhaversalist Pagan. What could be more clear than that? I follow the shamanic elements in Judaism as well as in Buddhism but find Buddhism and Judaism are quite similar in their emphasis on tikkun and right action.

I am, of course, a panentheist. But I am also a solipsist and once attended a convention of solipsists where we spent the entire weekend trying to figure out which of us it was.

I spent ten years studying with the Center for Tao and Man. Master Ni told me I had the cosmic egg. What difference what I call it? OK, so I am a Taoist. I follow the watercourse way and sometimes that flows through Judaism and sometimes it washes me into the Thai Buddhist Temple where the abbot explains to me the deeper meaning of the Kol Nidre.

After many years of attempting to reconcile seemingly disparate paths, I have stopped any attempts at reconciliation. The result is that all things now seem much more similar and it becomes more and more difficult to see the space between them or recognize there are differences.

Besides, name one cantor who does not like to be accompanied by a rattle or drum.

5. Tell me about turtle shells.

[Note: I had a turtle shell that I brought out whenever I did any group shamanic work. Every time Adam was present, he clutched the shell as if it were a talisman or protective shield. And when I do energy work with him, particularly when I use quartz or amethyst crystals, he seems to find the shell soothing, since my energy feels “edgy,” for lack of a better word. It became clear one evening that the shell wanted to go and live with Adam.]

The carapace is the dorsal, convex, magical part of the shell structure of a turtle, though a turtle would argue it is concave. It consist primarily of the ribcage which is a strange concept because there is never any chance of the ribs escaping. The spine and ribs are fused to bony plates beneath the skin which interlock to form a hard shell when blue and yellow make green, locking freshness in. Exterior to the skin, the shell is covered by scutes, horny plates that protect the shell from scrapes and bruises. Underneath they are made of backhoes.

They are alternately named Don, Horace, or Filbert.

They are not like crystals at all.

They go wonderfully with a cup of papaya juice and Northern Exposure.

One called to me for a year before it ended up coming home with me.It was playing hard to get.

If you lie one on your stomach, you might not have seizures.

Turtles don’t mind.

6. A dear friend of mine named Geralyn said an old chum once told her, “You know what’s so wonderful about you, Schulz? You can’t sing worth a damn. But it never stops you!”

I know you love to listen to music—music of all genres, music that makes you think and feel, with a smattering of Broadway just for good measure—but I think you like making music even more. Singing for the joy of it.

I remember a workshop you conducted on chanting. It was something everyone could do even if they couldn’t carry a tune. And there’s that wonderful Yom Kippur piece you wrote where you imply that chant and prayer and incantation are different aspects of the same thing.

So what does singing give to you, or do for you, that other forms of creativity do not?

Everything sings. The Earth sings from beneath and around us. Everything on/in/apart of it sings. We come out of the Earth and go back into the Earth and, therefore are never apart from the Earth, and so we sing. Any part of a whole carries the nature of the whole. So I do a whole lot of singing.

I think everyone should. And, no, it does not matter if the person can carry a tune. Sing. We are made of an Earth that sings and it is a function of our bodies. We get caught in subjective notions of quality which we mistake for objective ones and which we then assign value to. People do not sing because they are not good at it. But we do many things we are not the best at. We don’t see people refusing to walk because so many other people do it so much better. So sing.

Music reconnects me to all that is around me. I can disappear as a separate entity—the illusion of disconnection evaporates—when I sing. When I am singing with others in harmony there is an experience that is ecstatic, in what I feel is the true sense of that state: I am outside of myself. The harmony creates a larger sound that is made of but is not simply the voices that create it. The harmonious vibration is larger than the sum of the voices. Larger and different. And that applies holographically from the macrocosm to the microcosm, and fractally from the microcosm to the macrocosm.

What is it that vibration does not do, is not made of? I remember someone wrote somewhere in some well-known book something about “In the beginning there was the word; the word was in God’s presence, and the word was God.”

Names, sounds, create things. And it is the naming that creates separation and, therefore, identity. It is my feeling that what wounds can also heal, and sound heals. Singing heals. Music heals. The cantor sings to the congregation the holy words. We chant holiness. Incantations create. All is sound.

Other forms of creativity are, for me, secondary. They are derivative. They pale. To learn to write I took music classes. My writing exists because I do not play an instrument well.

7. I actually went back and reread every single entry in your blog this evening. I teared up at a few, but mostly I smiled. Or sighed. I am honored to know you.

One of my favorites (though to pick even a Top Five would be next to impossible) is Day of the Manatees. There’s a quote by Henry Beston that we both like—in fact, we’ve emailed it to one another, forgetting that the other had already sent it to us—that goes:

We need another and a wiser and perhaps a more mystical concept of animals. Remote from universal nature, and living by complicated artifice, man in civilization surveys the creature through the glass of his knowledge and sees thereby a feather magnified and the whole image in distortion. We patronize them for their incompleteness, for their tragic fate of having taken form so far below ourselves. And therein we err, and greatly err. For the animal shall not be measured by man. In a world older and more complete than ours they move finished and complete, gifted with extensions of the senses we have lost or never attained, living by voices we shall never hear. They are not brethren, they are not underlings; they are other nations, caught with ourselves in the net of life and time, fellow prisoners of the splendour and travail of the earth.

If you’re a panentheist, then you believe that God (however you define the concept) interpenetrates every part of Nature. My friend Tim has a wood carving of a fish; on the side is painted the word COD, except that the bottom of the C curls in just a tad too much, making it halfway between a C and a G. It’s the God Cod. (Or, for the dyslexic, the Dog Doc.)

Speaking of dogs, here’s my second favorite zen kōan: A monk asked Zhàozhōu, “Does a dog have Buddha nature or not?” Zhaozhou answered, “Wú!” (Wú means “no” and “non-being,” and is also the sound of a dog’s bark.)

There doesn’t seem to be a question in there anywhere. Hmmm.

How’s this: Manatees. Dogs. Cod. Us. God. If all our separateness is maya—illusion—then do manatees bark, and does God swim in Turkey Creek?

Hafiz tells us:

Ever since Happiness heard your name
It has been running through the streets
Trying to find you.

And several times in the last week,
God Himself has even come to my door—
Asking me for your address!

If God can come to my door, I am sure God can swim in Turkey Creek.

 
 

Tags: , , , , , , , , , , ,