“Generally speaking, writing doesn’t improve from writers’ indefinitely putting off the moment when they set words to paper. On the contrary, it depends on writers’ being venturesome– like the vast plant and animal world, with its myriad false starts.”
“In my view, no one still up to the task of uttering a brand-new sentence is not also capable of growing more whole daily. May that livening experience– and true gladness for the chance of it, as well– be my reader’s fate.”
My brand-new sentences:
Here I have quoted Lawrence Weinstein from Grammar for a Full Life: How the Ways We Shape a Sentence Can Limit or Enlarge Us, and I will try to let it inspire me daily. Sitting down and doing the work is up to me, but not to the overloaded, stamina-wielding me. Rather, it’s up to a more spacious me who is learning to say No to overload without fruit or meaning.
So I’ve tried to do my bit for Poetry Month and Decorating Month. I want to wish everyone a positive May and end the month with a quotation from Rebecca Solnit. This is from Recollections of My Nonexistence, which I recommend to Creative People. She’s writing about books, but I think it applies to all Creativity:
“The sheer pleasure of meeting new voices and ideas and possibilities, having the world become more coherent in some subtle or enormous way, extending of filling in your map of the universe, is not nearly celebrated enough, nor is the beauty of finding pattern and meaning. But these awakenings recur, and every time they do there’s joy.”
Both beautiful and true, I think. Wishing you all some joy. Or, re: my photo, something to be your ground and bedrock, something to be your growth, and something to be your fluid freedom. See in you in May.
There are books I read every few years. Do you have such books? I circle slowly back around to them like the orbit of Neptune because I’ve noticed interesting change between the first and second, and subsequent, readings.
Some books, read again, reflected back a new (older) reader with different responses. That helped me know my mind and sense of language better, as well as opening the vista a good piece of Art is.
Sometimes I return to writing of my own with the changed perspective of time. I understand them differently. Even the way I want specific words to communicate has changed
This poem started with a round burn on my hand got not long after noticing a small, dark rose in falling snow; it bloomed late, into a tight knot of petals, ready to face winter. The poem slid around on those two images, sort of a narrative about my own observations.
Buddhism likes to say…well, Buddha said….the world is burning. Our senses are burning. This simple, complex statement has to do with the nature of the world and our attachments to things. It’s a wake-up call about how easily we make ourselves suffer. It’s also now a new layer of the word “burn” for me, and there it is.
So what happens when I go back to this poem? The actual hand burn once got lifted into something higher through the image of the rose. Now my hand provides the poem with the metaphorical Buddhist burning the real rose can’t escape. Once the burn “bloomed” like the rose, and now the rose is burning. (If I’m not careful, I will justify the false impression that exists in the world that Buddhism is a real downer.)
The poem before was imagining connections, and I feel as if now it’s reporting a real connection I finally paid attention to. I have another “thinky” poem that is struggling to go in exactly the opposite direction and soak its reporting in imagination, to revel in imagined connections. My smile at this knowledge of my own tangled Creativity is both wry and satisfied.
The stove’s sharp blue heat
invaded the pot handle
you grasped without attention.
The burn asserts itself
like the red fist of a rose
opened late, defying snowfall.
Take note. The earth insists.
The undulation of your palm
has always resembled a drift,
snow crept upon by claws
of sunset, bloody hue under bare branches.
There have always been things on fire.
The body burns to say it. So
your same grasping hand sets
it down, sears white paper darker.
You know how, when you’re on the first break from work you’ve had in years, and you relax some and refuse to call it unemployment, and you use your brain for nothing, and that’s good, and then you get several ideas for blog posts all at once, and you draft them all instead of finishing one, so you come off your break by ignoring them and posting a poem? Yeah, it’s like that. Photo by me.
At the risk of a blog overrun by shadows and cemeteries, let us proceed. I am a happy collector of Chance Creativity wherever it’s found, whether in Nature or in human effort. I collect moments of connection between what’s around us and what we perceive. (Oh, right, yeah, that’s…Creativity.) But sometimes you come across something surprising that uplifts.
I love the extra layer of creativity in this tomb door plaque in the Hancock Cemetery, Quincy Center, MA, observed by my ever-curious and history-minded colleague. There’s a wonderful variety of materials and surfaces, an attractive font, and fine stone artistry. Certainly it makes sense to have the names in alphabetical order. But look at the Chance Creativity in Appleton, Greenleaf, and Woodward: “wood” rises into “green leaf” rises into “apple.” I’m going to believe that, after all the time and attention, the stone carvers saw it, too.
What is in play here? The ways we memorialize, and what stone symbolizes. Space and landscape. Style, even in burial, that reflects people, regions, and eras. Human relationships and how we express them. They all came together here, our eyes joined them, and there is the image of a tree in stone, made of words.
Thank you to Christina Rewinski for her historic explorations and the photo.