Tag Archives: garden

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june 30, 2007

Calendar check 6:30.
Time check 1:30.
Skin check: itchy.
Wrist check: stiff.
Mind check: jittery.
Stomach check: jittery.
Throat check: thirsty.
Mouth check: worried about someone else’s leukemia.
Soul check: distant.
Pulse check: alive.
Poetry check: parallel universe.
Sky check: blue delightful.
Bird check: twittering and cheeping.
Smell check: corpse flowers.
Sound check: birds, flies buzzing, metallic clink, a flagpole, distant pounding, distant humming.
Air check: slightly breezy, warm.
Clink, clink clink.
Cars passing. Thump.
Cedrus Libani, Cedar of Lebanon.
Stone cairns.
Cedar needles.
Adirondack chairs.
Conversations hanging in the air.
Buzzing plane. Gardens.
Labor hanging in the air, remnants of sweat.
Dry tongue. Clink, clink.
Air belly, squirrel throat.
Darkness behind the eyes.
Mouth film.

Uneasy belly. Toast and jelly.
Uneasy eyes, ants and flies.
Uneasy legs, beans and eggs.
Uneasy hands, toast and jam.

Ordered poetry for the millennium. I am not a MicMac, not a Passamaquoddy, not a Pequot. Hanging conversations. I have made up my mind. Corpse flower, cedar needles. Aboriginal gardens. Poisons. Fatalities. Eco echoes.

Afternoon check: summer.

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Try to be direct, try to direct, the team, the leadership. The common, the committee, the approach, the aftermath. Amazed. I am amazed in grass in weeds in yard work. The root, the colors, the shapes, the tiny “M”, the way things are happening. A tiny phone in a tiny hole. Rhythmic remarks. The tiny mags, the page turners.

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Tracing. Battles, bombs, blood. And how we carry on.

In the household—there is nothing happening. The garden cleared of sticks and stalks, but not turned over, soft and warm under a thin layer of rotten hay. Earthworms fat, inert with cold. Occasional grub, dug up, in half moon pose, not something I really want to lean in and observe.

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It is a thicket. The conifer garden is ultimately soothing. After wandering down into the marshlands, following the rotting boardwalk, achieving the stability of brown and stagnant water, she wanted then to rise. Climbing hills, across the broad lawn, observing the perennial garden now completely dormant. It wasn’t hard for me to find the isolated snowdrop, crocus, just look down. At the gate, sign says No Pets and I feel a true relief at the restriction. No footsteps mark the snowfall on the secluded upper path. Dark conifer presences so silent in their various forms, some curly needles, others quite like fans, or dark green fuzz along the branch. Winding whiteness, the brief sensation of being lost again in that small place I know so well, trickling of liquid drainage through the mushy grasses out the drainpipe.

I am lost.

Lost. Description even becomes too much of a responsibility.

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2nd Prose Poem conference
Something I’m not writing anymore

the disintegration of
the diary

on purpose
the relaxed alignment
of destructive tendencies

and all those names
those names for things
far-reaching Adams
wrestle in the garden
double Adams
double Garden
and there is no Eve
on daylight savings time

something made of ill repute
that catches up with you

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A need to relax the mind, heal the interaction. She is a poet. He is dressed in second-hand clothes. She resists friendship, the contaminant of it. He is studying in the hot, in the cold. She is working on images not words. He is dreaming of the garden. She is assembling her questions into a marble monument, he is handling rotten fruit and leaves.

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I am interested in—

  • online poetries
  • blog as poem
  • applied poetry, particularly in the office
  • poet as one confronted with the unknowable, unspeakable meanings
  • primitive rhythms
  • experiments with art
  • how to make digital art look non-digital
  • splotches of watercolor (ink on top)
  • daily practice
  • gardening/writing intersection
  • spirituality/writing intersection
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Next day at work, Linda, who likes to try to be my guardian angel, asks innocently—how was my drive home last night—I stare at her for moments, at an utter loss for inspiration as far as what to say—I don’t even know if my own mind how to say how my drive home has been or if I’ve even reached home yet or ever will and can’t begin to explain why I’m driven to do things like tour New York City in a car one-handed delivering warm clothing and unwanted poetry on thankless nights where no one’s looking almost not listening no stars no shining and no stop for meals. Lisa offers to go get some negra modelo, me and Josh say yes. He has a new job, he’s a kid, he’s going to work for Wiley in Hoboken, just starting out, I say Good night Good luck we walk off in opposite directions.

Next semester—Finnegan’s Wake, Gertrude Stein, and the Cantos, oh my god, I want to take that, I can’t help it, I can’t justify it, there is no explanation, but I’ve been broken down sufficiently okay it’s insane okay I’ll cooperate I don’t believe in vengeful angels but I’ve sustained enough damage from the New York School and San Francisco Renaissance that I dare not tread toward giants of literature like that. No I won’t be jounced by Joyce, stunned by Stein, or pounded on by Ezra anymore it’s over I’ll stay here in bed contented with my diary and my jottings, what intact bones are left, sipping supplemental vitamins and breath, applying gratitude medicinally and daring any New York angel poet student policeman to come find me here in this suburban garden of post post post avant avant fragmentariantude.

So there.

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Here are my projects—

I write a series about rivers, it feels really forced, much less interior than I’m used to.

I’m doing book design, an anthology. I feel like curling up in shame for the uneven obstreperous (bluntly) badness of this poetry and get defensive at the awes of horror over awkward typographic dumbnesses in Duncan’s Selected oh yes it is a bad book and—well, mine probably is too.

I’m writing a gigantic Hallmark card to 365 of my closest friends, a project which I never once get brave enough to mention because it’s absolutely a faux pas in circles like this to write about real people in a dumb form like “50 words,” not to mention being 50 which is also a mistake too grave to mention, so I shut up even though I secretly admire myself, if only for the year-long discipline (its roots in stubbornness).

I have a blog. Lisa acknowledges my blog on hers, kind words; we mention it once in person, then this contact sinks again into the pool of anonymity, mutual lurking. I decide I want to put more energy into my blog, I have sort of a grip on it as an aesthetic project so I post something almost every day in November, although this is quite strenuous, and sometimes, it’s only photos/fragments.

Lisa’s interest in plants helps me acknowledge that I have a yard, a garden, even a sort of love for certain specimens. I bring two plants indoors for the winter—parsley, rosemary—and plant cilantro seeds. The sage survives outside. I think of bringing Lisa some sage bundled as a gift, maybe wrapped in some embroidery floss. No thyme at the moment.

Umm…can’t get there from here. Can’t go to Naropa, can’t spend lots of money on classes when I’m 50 and Blair’s in college, can’t generate a poetic community like the Beats or the New York School springing up from the wasted garden void around me, can’t make contact, can’t begin to get excited again about an online journal project, any opportunity to publish or be published, any sights set higher than retirement sooner hopefully rather than later after I finish paying for the college education of my favorite anarchist who would never rub elbows with an institution unless the term was paid for by a foolish parent (yup that’s me).

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If I could find my way to a simpler conception. If I could find my way to the egg on the pedestal, if I could find my way to the walking rock. No table salt. No laughing pepper. No funny farm. No moldy vegetables. Rot in a garden. Where do we see that rot, the heavy mosses, the packed earth of the path? The beaten borders, crumbling boundaries? The edge trees fallen into the river, bouncing, bouncing, bouncing, in a death flirtation with the current. Where do we see that? Where do we see the planes? How far away are they? The red light blinks far away at night and there you are, another person. We forget that all of these poets are also persons, one after the other, exhibiting bodily functions. Yes you are a wizard of language. Yes you may set a bonfire. Yes you can turn and turn and turn. No you are not a clergy person. No none of this should be bandied about. No you are not for sale. No you have no memory of the mountain of marzipan you saw in Italy.