Terracotta

Down from Arizona desert cold and this absence of ice and snow
three white painted terracotta pots
by the Villa apartment on the tabled walkway—
Christina’s place.

Stacked, each alternately inverted one to the next
stabilize a snowperson body. Can you picture it?

Black painted buttons all the way up?
Lips of dots, an orange twist of nose,
deep eyes void black. Burgundy scarf tied around the neck,
positioned just so, it could be fit to a Christmas Chihuahua.

By its playful form and surprising attitude, may it well succeed
at pleasing every passerby and draw on each scroogy face a smile.
It’s been doing that for me, as I park opposite each night,
my headlights there shining.

Still, I have not and shall not peak inside the alluring, open terracotta skull
since I have imagined not wishes, nor disappointment, nor elves and cookies,
but practical ash, randomly spiked with spent cigarettes.

And last night, as I walked out, with my night’s anticipations,
my grab-bag of happy tangles, Christina’s hanging silver chimes
issued their soft whispering over terracotta, and I caught
a snippet of Amazing Grace how sweet the sound.

Mojo my psychic dog turned me sharp just then,
and took me away–we two, sniffing into the starry desert.

Dream Amphibian

On the low-flung periphery of the salt marsh bay,
near the twisted beach, an eddy–

Sun low with the tide going up
where softly and under I lay.

For a pillow I was given
a yellow shell.

My ears were listening.

In its restlessness and reaching,
my tongue and its languages
felt lashed and closed.

I shall not leave
my waterworld.

But I must go,
ashore.

Hermit crab
raised itself up.

One silvery minnow played
across my open eyes.

Then, a cloud-blue sky
answered me
with a white seabird,
overhead circling.

So strange and beautiful,
this land of my dream I see–
in my amphibian way.

Inspiration That Young Boy

This hand which moves and rides some voice is not mine.
I give it over to you, young boy. This is what makes it fly so,
traveling out, tripping along in dance of shape and sound.

I acknowledge your presence in this fashion.
You tell me by the messages beaming out the back of your head,
you are the very boy who has waited an eternity
at some upper railing. You sit and peer through the spaces,
down the twisted stair. Your hands, they grip the vertical rail.
Silent. Silent. Waiting you.

Let this right hand of mine be your secret voice.
Let this scrawl and scratch be your gravelly tongue—
Ick-nicking, ga-chooing, click stutter.

What languages may I shape for our own sake?
With you, may I follow, setting trail markers just so.
Will others come mistaking their ways for yours?

My hand is opening and opens wide.
I remember you. I am returning.
Let it be.

Stone of St. Croix Island

Carefree in leisure time, one blasé tourist,
almost happy, I once had collected a complicated stone;
after the sunny hours had ended and last opportunity
for keepsakes began.

In my hand the stone had kept all of its mouths sewn shut,
holding its amalgamated story, and likewise in the car,
on the plane, through US Customs where it was not
in the least suspected.

A thumbnail identity I now should guess at, marking an old date,
and fixing it to, with reasonable estimate, a map location:
Plot No. 243, East end of the island, slave sugar plantation,
the stone from the corner of a ruined windmill stair—
broken free by my criminal hand, having liberated a vine.

The stone looked like a bleached out mini-monolith, square-rectangular,
able to be stood on end, leaning back and swollen at its center
like a pulled cork.

What could have moved this sequestered world to opening?
That was not for me to discover, except what came on Christmas Day,
two days after my returning.

Slave watercourses, the sight of innumerable Dutch ships,
ballasted with human flesh and hewn rock for sugar works buildings.
The drop at arms swish of the Driver’s bullwhip.
Flecks of spirit splayed on vegetation.
A mongrel dog barked beyond the windless wall of sugarcane
in centipede and mosquito heat.

Seaside, beautiful seaside impressions;
distant coral light shadows, etched deep azure;
snowy colored breakers that pencil-marked the sea.
The staid, vibrant, mocking power
of visual symphony backdrop.

So little of aid for the slaves, but for those dangerous secrets,
unhoused in the fallen coolness of the night:
demonstratively crystalline heaven of stars;
a ragged moon, clouds scudding eastward toward Africa
before freshwater rainsqualls came. And there
Orion’s Belt, mid-sky, illustrious bright, with its three
centering star points in rational line, as if
Hope could have flung such a rope anchor onto Life
engendering sanctified resistance.

Christmas morning, 5 a.m.
I had awakened from a stuck place, shapeless and dark,
half in dreaming and half in knowing I was in no dream.

I was sobbing, yet strangely, because there were no tears.
I had only put the stone inside my pajama top onto my heart.

Breaking Up Language

I have been aware these days how the language I speak inside my head can make for a defeating prison. Imprisoning words, born of limitation, cloth and color my thoughts, at last shape my out-loud speaking.

My self-talk — the voice of a critical, judging self — controls me, reflecting back who I think I am. Lord knows what sort of “me” people on the outside see?

For as long as I can remember I’ve been looking for ways out, for relief; I believe I’ve found a sure-fire way.

I’m learning how to relax into verbal surrender. I break my prison-house chains of language by making up my own languages.  It’s any sort of gibberish non-sense, and it feels natural to me.

It’s a verbal, eruption break-out, driven by my exhaled breath–with utterances happening just as spontaneously as that.  At the instant it happens I am aware of it; I am physically conscious of it, of how it feels in my mouth and throat, on my tongue. I enjoy its rhythms and stops. Its spaces for listening. By this talk, I express my sheer, natural happiness. Speaking this way feels like full communication.

I believe my dog understands me most, when I speak this way to him. I don’t count him a regular listener, since he listens more profoundly than any human I know. I’m convinced by how we connect, he knows the very me of me.

My cat understands me at my very simplest. With my tongue I make a rising and falling pitched clicking sound, repeated, like he does, when excitedly he sees a bird close to the window, where he is sitting. His name I call is this clicking. He comes, sometimes.

Mostly, I address my “broken” non-sense speech into thin air, while in the middle of any activity, where no other humans are around. It appears when I need it most. Just before, I feel the situation is desperate.

When speaking happens, I sense that something of the invisible world has come closer and is more alive to me. Strangely, sometimes it can feel as if I am eavesdropping on an exchange which is not of myself at all; rather the “words” seem to issue from (and then return to) a host of invisible “others”, who are there and engaged happily (I should trust).

I guess I will be judged by others, by telling all of this in print. Sure thing, so I’m “off my nut”. It’s a wonderful madness. I feel blessed and powerful; humbled.

I’m committed to practicing this new liberation, letting it grow deeper roots. Come what highwater may.

Subtle worlds have opened to me, which I have never known. The invisible world seems more important than the visible. Life feels richer with my company of new companions in both worlds. I am happy, meeting myself for the first time. There’s no turning back.

For audio of text, read by author:

Breathing Three Space

Who would think it ever wise to take a break from breathing? Not I.
Still, simply put, breathing not at all, if only for an instant, is a powerful
way to feel Life and wake up to it.

To live more in the awareness of NOW.

There is a sweet spot in the rhythm of breathing, in the pause right between the exhale and the inhale. I found it one day without being aware how sweet it was. Then, sweetness came to me, when without breath I was aware I was there.

Peacefulness in the “no-hale”. Contentment. Feeling my heart beat its near silent song in my throat.

There may be a fancy Yogic or other name for this practice. I’ve yet to find it and be satisfied that it is named finally, for me.

When I am bamboozled by impossible, quintessential questions, put off and bothered with worry or over-thinking, I know I can choose to invigorate myself by going voluntarily to an experience of “no breath” ~ letting my breath go out and out and out to the very bottom–to that place of quiet stillness….savoring the peace.

As if I’m newborn, the air does at last come rushing in.

Here and there, anywhere in my day, I can choose to make such a soul-invigorating, delectable moment.

Walking ~ a Simple Pleasure

The Body’s Natural Wisdom

Do you dance? This is a question which many of us may shy away from answering in the affirmative, since our assumption may be that DANCE is quite an exclusive activity, suited for the talented, the professional; there are acceptable standards; cultural forms to preserve and practice. Then there is wild, ecstatic dance, with or without aid of “substances”. Freestyle? Isn’t it much easier to say that we do not “dance”? Many find themselves in that place.

Have you ever considered that walking may be the simplest form of dance we human do? When we were first learning to walk (we might imagine now), each unsteady step we took must have been a great adventure, a great physical challenge. Standing tall, independent, free of any support of holding on, the repeated motions of making one step and then another built a kind of symmetry. 1-2; left right or right left. When we accomplished three consecutive steps, how did that feel? This was a new pattern, a triangulation of a sort. Left-right-left, or right-left-right. A waltz dance! Whether we were walking in 1-2, or 1-2-3, we must have had the satisfaction of joining function of locomotion (of getting somewhere) with a kind of aesthetic, deep experience of music-making with our feet. Drumming, perhaps, on the skin of the earth (or the kitchen floor)?

An accident I had in the summer of 2011—where I broke my left heelbone and had to get around on crutches for five months afterward—has given me a great appreciation for the simplicity of walking. I really had to relearn. How? I must say that the wisdom of my body taught me how to dance again, in simple walking. I now enjoy walking, like no other pleasure; it’s the light swing of it. In 2 step or 3.

These early winter days, before snow and ice have made my step unsure, the greatest thrill seems in the three-step, times 2. That is, in the six-step walking pattern. It’s a balanced kind of movement, a fully rounded-out waltz step with alternate feet leading….on the 1 and then the 4. It’s a…1-2-3-4-5-6. No need to count it really. I just relax into the rocking feeling and soon I’m jogging gently, to my amazement–even picking up the pace; despite my tell-tale, hobble limp.

These days the song of SIX keeps great company, helping me sing myself into a new and familiar tune. A happy wholeness in walking. Most natural and wise, and human.