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Unwanted Advice: Reflections from a Self-Appointed Life Counselor

~ Caminante, no hay camino. Se hace camino al andar. Wayfarer, there is no way. You make a way as you go. (Antonio Machado)

Unwanted Advice: Reflections from a Self-Appointed Life Counselor

Tag Archives: Annunciation

“Experimenters in the passages between worlds.” Vinciane Despret, Au Bonheur des Morts

14 Tuesday Jul 2026

Posted by summermlee in Aesthetic philosophy, Art, Birds, Nature, philosophy, Uncategorized

≈ 1 Comment

Tags

"Où s'en vont les gens qui meurent?", Annunciation, art, Étienne Souriau, birds, birdwatching, death, Gadamer, Indonesia, Loss, Love, Mourning, nature, philosophy, poetry, Ruby-Throated Bulbul, Summer Lee, Summer Mei Ling Lee, temples, Vinciane Despret, wildlife, writing

1060.

He refuses to call the birds even if it means his customers will see less birds and from farther away, or that his customers could choose another guide who does. 

He knows that these encounters are where truth can reveal itself, not when we try to shape the world around us. 

What all the birds are telling me these days is that it’s never been about the birds, or the lover, or the one who is no longer here. I start with some words, and then I wait. Fiat mihi secundum verbum tuum.

We waited for hours in the sticky heat, scoping out across a ravine where it’s impossible for the villagers to plant rice fields. It’s always when you are about to leave when they enter and that’s why birders never leave — even if my son is pulling my arm or I have missed a zoom call. I have started to live for these Annunciations, the moment like this, when he careens without fanfare into a morass of jungle vines, the flash of gold and blood red grabbing my eye. 

There is a lowly triumph when you are the first to spot a rarity, especially before the native expert does. But this was also about waiting and listening, Tai would say to weaken our ego. And sometimes something happens and sometimes it does not. Birds, like my favorite art, exceed explanation and translation. 

As much as the people of this area leave gratitude for every spirit here—the spirits of the trees and the water and, especially, the winds—they also still catch wild birds and cage them.

I waited for three days for our escaped pet cockatiel to come down from the trees in our neighborhood back to me. Every morning I would wake before sunrise so that I could hear her first calls somewhere outside and re-locate her from the night before. I cancelled every appointment and obligation and tracked her. A few times a car or the oblivious dog-walker would startle her and she would make a wild flight, so I would run after her, under her next impossibly high perch. I blasted cockatiel calls from my phone and called her name incessantly, altogether confirming my title as the crazy bird lady on the block. There were many desperate moments when our eyes locked, and I registered her simultaneous anxiety to return to me with the existential fear of what that entailed. 

On the third night, when daylight was fading I lost sight of her in a patch of thick pines, on the exact hillside property over which our group won a lawsuit to prevent it from being paved over. I made a call out and she answered me from the darkness. And then went forever silent. 

My guide used to take the money from his tours and buy back the freedom of those caged birds. Maybe he still does, but I didn’t ask, because I know the discipline of that practice is to never commit it into words. From one angle, it can feel relentlessly useless. From another, it is where God is located.

His people apparently think the gods are also located in all of these miniature temples, plopped every hundred yards, it seems. My favorite one was where White-breasted Waterhen was gobbling up their offerings right alongside the scooter-filled jungle road.

We lost sight of the bird somewhere in the ravine, so we finally could take a nature break, which we jokingly dubbed “apologizing to the trees.” Then we finally left with my tiny indexical residue of a photo strained from what seems like a mile away in my giant lens.

There is an ache that I will never see that bird again, and my photo will never improve. But I also have the wound of possibility of re-animating it all in reverie. Like everyone and everything dear I have ever lost. 

He writes that there is something more primordial than the one who gives and the one who receives — the experience giving itself. 

Vinciane Despret puts it another way: love exists because there are those who love: “Perhaps one has to imagine love a bit in order to love, and in imagining it and by loving, love exists.”

To end her lecture on where do the dead go, curiously fashioned for children, (and we are all children in the face of death), she leaves us with this invocation: “When a pagan meets someone, they never know if they are having business with a god.”

Two weeks after our cockatiel disappeared, I was across the country when a neighbor spotted her less than a half mile away. Lupe went right away and was able to capture her. Everyone who had been in these words with me cried in joy and for a moment my intense mourning lifted. Then I saw her up close, and even if my youngest son still refuses to accept it — our new bird is not our lost one. A lot can change a cockatiel who is in the wild for three weeks, but they can’t get younger. Still I took the wrangled bird in and made a perch so she can sit up high and eat, sleep, and watch birds fly by outside. Another little altar for the temple of words.  

 

“Art brings the finite and the infinite, the visible and the invisible, into coincidence.” Takeyoshi Nishiuchi

19 Sunday Jan 2020

Posted by summermlee in Aesthetic philosophy, Art, Birds, Nature, philosophy, poetry, Uncategorized

≈ 5 Comments

Tags

Annunciation, birds, Fra Angelico, language, Summer Lee, Susan McMane, Takeyoshi Nishiuchi, Young Women's Choral Projects

The greatest injury to Fox Sparrow might be that scientists are trying to build a mechanical bird to replicate all he can do. But what a consolation it is that they can’t yet fathom his genius — that when he moves just the toe of his wing, he can change the direction of all his feathers, just so. How he can make his feathers stick together with a force greater than Velcro and then separate them at will. Not to mention his song.

And their song. The mystery that all those technical elements can create a moment completely liberated from them.

Hands

(Here is Where We Meet, by Summer Lee, 2017. Cyanotypes, fabric, wood.)

There was a time when the mystery itself was worshipped. And that painters knew the impossibility of capturing it, but their religion was to try, for hundreds of years. But in these days, even though no one now can say exactly how a word becomes flesh, we are fed so much technical explanation about this material and that, the biography of that painter and historical event. Circular tales plunging us into neurosis. What else is neurosis but the inability to cope with uncertainty. And the delusion we can ward off any risk. They knew then, as it goes, the angel arrives even if Mary turns her head.

If ever you have held dead Fox Sparrow in your hands you also know that nothing else could suffocate life more than the self-congealing words we wrap around it. Even if it is, and it always is, to try and comfort.

Fra Angelico made a point to put the fallen Adam and Eve leaving the garden in the same scene as the Annunciation. He knew the word can separate, but also in the same scene obliterate all back into the messianic. Caroline’s poems do this many times a week. And maybe that’s why I tire you, to set out so selfishly about here with words from time to time. To remind myself, the truth and untruth of language.

To remind myself that no one can explain how the paint in my watercolor pan can bring Fox Sparrow to me. And how Fox Sparrow can leave just like that, just because I wrote it here.

Mary, in an economy of words we can’t fathom today, said,

Fiat mihi secundum verbum tuum.

Let me greet all such incursions on my cautionary house of being with such grace. To find repose in the pain of resignation. Not a lazy resignation, but at the end of intense searching, like that for Fox Sparrow. I have read volumes on his kindred, and created innumerable treatises on all the possible places he could be when he isn’t here. Some dark and treacherous, like facing decisions I must make for my child, the lightning-lit rain pelting Fox Sparrow as he embarks in his night flight home. Some of his places are as light-filled as the clouds of Veronese, overlooking restless humanity. And sometimes as majestic as the vanishing valleys into the boreal forest I will never visit. Most of all, it’s the perch on the thin wire weirdly placed in that painting. Where he peers down on a woman who has been greeted by an angel, telling her that her life is about to be changed by no fault of her own. And of course Fox Sparrow knowing what we don’t know: that we are all fallen. And that a word could turn into flesh, spirit into form, and save us.

fra angelico prado 3

Right now Fox Sparrow is under my feeder scratching the dirt in this humble coastal yard in front of my house. The more hungry he is, the closer he lets me. To see his black eyes see me, see this place, that somehow guided him here to me. Back to the emptiness.

The YWCP chorus, directed by Susan McMane.

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