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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: birds

Welcome home to un-home.

20 Saturday May 2017

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

≈ 3 Comments

Tags

art, birds, Chicago, Chinese Bone Repatriation, death, Fra Angelico, Home, immigration, Marie Howe, migration, philosophy, poetry, Summer Lee, Summer Mei Ling Lee, The Annunciation

Non Omnis Moriar

The first bird I met here was half-dead. A Cape May Warbler, my first ever. It had collided with a Chicago building like thousands that do every year. It stood frozen still on the rooftop as I toured the 11-story, urban school for my son, as if warning me of the impending experience there. The Cape May is one of five million migrants and dwindling, but in this season, they still show up as clouds on weather radars every evening as they take into the darkness and as they rest to feed by sunlight.

They must survive the buildings, but also the endless Midwest miles of recently invading soy and corn fields, where there is ironically no food for them. They trace along the lakefront, which is where I found my cathedral among the starving and vulnerable. This church is simple, and the faithful are sensitive souls as they gently but enthusiastically ask me, did I see the black-throated blue warbler over there?

It’s true that in the end love is why. And also, as she crystallized in fragile words, nothing brings so much pain as love.

A third of the first shipment of bone boxes from the United States back to China were empty. Most immigrants back then wanted to be buried in their ancestral homes. They were also not welcomed here. Despite vast impoverishment, the family associations made arrangements to clean the bones and ship them on a 30-day ocean journey via Hong Kong, from where they would be delivered into China. The empty ones were soul-summoning boxes, when their were only names, when bodies could not be located. Something had to migrate home.

Some never made it back. Some are stuck in transit, in boxes in a storage house in Hong Kong, where they opened an empty one for me. When I saw it, I cried uncontrollably. And when I came to, I remembered Faure’s requiem.

Some are still waiting in my hometown, like my great grandmother. And here I had thought the Chinese village name on her tombstone was for biographical purposes only. When in fact, like so many others, it is an unkept promise of a more final return home.  No matter how many children they birthed and raised on this soil, the burial here is temporary. Address labels with no postage, the stone mark of their villages is a question mark of an eternally unanswered request, beseeching unwitting visitors, please take me home. The village name, possibly of a village that doesn’t exist anymore, is a way the dead stay alive. Yes, never dead if your progeny visits and honors you. After all, if someone remembers you, you still exist. But here it is not ancestral worship either, just an endless restlessness for homecoming.

6500294f6f1bc41c81d2bdba49049b3e
(The Annunciation, Fra Angelico, 1425-6)

The neighbor in Chicago to the right voted for Trump and the grumpy one on the left asked to take down my bird feeder because it was bringing woodpeckers to her yard. I never saw a woodpecker at my feeder in California, who knows why not, but there are four kinds here. You wouldn’t understand what it is to stop feeding the birds of my home. There is no one now to track their yearly changes as well as their disappearances. To no longer hear their version of truths about migrations and the space they know between heaven and earth. So I set out to ask the strange birds of my new home.

It is cold and rainy as I hold my camera up to these birds. We join together in the hopeful uplift of these visitors, knowing also they won’t be here much longer. And I realized maybe this is the reason I was brought here, and why I must now live between two homes.

It was also cold and rainy when I found him at the nearby cemetery in an unmarked grave. The Hong Kong assignment led me to review my grandmother’s INS interrogation from 1925. In it, her father describes burning the documents of her oldest brother at his gravesite. To erase any reminder that he had died in Chicago, the year before in 1924, at the age of 21 of a sudden illness that is of poverty. The confused clerk looked at me strangely, the white lady who presented his romanized Chinese name, but soon enough they found him on a hand-written map. Minutes later, the groundsmen took me to a field and paced off the coordinates — and there in the middle of fucking Chicago, I had found his bones.

She said, it’s as if I had to become displaced to find my family.

(In my imagination my grandmother’s family experienced one Chicago winter because thank you god they quickly moved to San Francisco.)

And if you have ever uttered a word thinking your dead would hear, you understand the birds. And you also know that all real happiness sets you on the edge of loss. As Judith and I ended our two hour phone call, a Cerulean Warbler flitted across my driveway. It was here and gone so quickly, it exists in the realm of doubt. But somehow my grandmother knows I am listening.

____________________________________

ANNUNCIATION

Even if I don’t see it again – Nor ever feel it
I know it is — and that if once it hailed me
it ever does–

and so it is myself I want to turn in that direction
not as toward a place, but it was a tilting within
myself, as one turns a mirror to flash the light to where it isn’t — I was blinded like that — and swam
in what shone at me

only able to endure it by being no one and so specifically myself I thought I’d die
from being loved like that.

— Marie Howe

“Song leads us home to where we have not yet been.” — George Steiner

25 Sunday Jan 2015

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

≈ 9 Comments

Tags

ancestry, art, birds, China, George Steiner birds, music

As the intensity of morning light increases, it signals to different species of birds when to start their morning song. Each bird is prompted to sing by its own special light.

When I visited China, I had in hand my grandmothers INS interrogation which detailed the few belongings they had in hand when they left China, as well as the several dead, young and old, they were leaving behind. In it, she also recounted a gold ring her father had brought to her from America that she lost. I would inherit this reminder of impossible frugality like a mistaken familiar voice in a crowd. As my own trip wore on, I was accumulating breastmilk that I pumped every few hours for relief, but also so that I could return home to nurse my child.

After dumping a heartbreaking amount of milk in China, I persevered the survival of a small frozen stash of milk through five cities (via ferries, taxis, subways, three domestic planes, and a train, all between four separate hotels) and finally across the Pacific ocean home.

By Summer Lee (Photo of pouring my breastmilk off the Great Wall of China, 2014. Summer Lee)

This trip symbolized the means of how an artwork based on my grandmother would come to be exhibited in the region where she was born. And soon, it will enter the permanent collection of that museum, as if I were the unwitting intermediary to repatriate her bones.

Several years ago, I was contacted for a potential exhibit at a university a few hours from my home, a show which took years to come to fruition. Finally this last week, during the same time my grandmother’s piece is in China, the show opened, and one of the paintings chosen for this exhibit is a watercolor of my grandmother’s husband, my grandfather, who was born in the same unlikely town of Stockton, where the university exhibit is located.

I don’t know if birds have homes, but I imagine they are more at home in the state of homelessness than I am, singing on account of the light, as much location.  In this winter of coincidental homecomings for my grandparents, I have become unhoused at the bird feeder of my yard. After so many years, a grasshopper sparrow, a spritely, smaller-sized, streaked sparrow, who was committed to my feeder winter after winter, has not returned. I will never know why, and I have no bones of his to return, nor an understanding of where his song might be.

This dawn chorus is ever a changing one.

image

(Photo taken by my friend, of where the restored Great Wall meets the ancient wall, 2014)

“…wherever gods are in flight.” — Heidegger

09 Saturday Nov 2013

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

≈ 5 Comments

Tags

art, birds, Dylan Thomas, gods, Hieronymus Bosch, illness, Laurence Hemming, Marguerite Yourcenar, Martin Heidegger, poetry, suicide

“No god can be held fast by a mortal: but the poet may, in stillness, bring to a stand the passing-by of the god, by speaking what the god has given him to speak. The poet in stillness, stills the nearing god.” — Laurence P. Hemming on Heidegger.

The gods are in flight.

Heidegger wrote that, and he also wrote that they can be near. But they aren’t here. I don’t know if he meant it in the sense I have as doubt is my glass darkly. But somehow his words prompt my own. But who can write into the unknown without just a few glints of necessary faith.

Heidegger’s fugitive gods were certainly about his pessimism about our modern forgetfulness of being. He also wrote that gods need the hearts of feeling men. And I remember how my heart lifted at the return of the Fox Sparrow to my yard a few days ago, as he has the last several autumns. Last winter, a new pair joined him, bringing an unprecedented three fox sparrows scratching below the feeder. How they knew to join him, and his flock of Golden-Crowneds, I will never know. Where the other two are this year, I am not sure either.

Detail from Hieronymus Bosch Painting

(Detail of Hieronymus Bosch Painting, “The Temptation of St. Anthony,” 1501)

My body is still betraying me, caging me in illness, the remorseful price of an early hope-filled pregnancy. The gruel involved in what were once rote tasks is also a block to the muse. Who in pain can muster an openness to offer hospitality to the unknown. Pain asks when, when will it be over, and in that way is anxiously future-oriented. Pain rarely wants to be at home with itself in the present moment — the moment of stillness needed to still a nearing god.

Bosch_Hieronymus-The_Temptations_of_Saint_Anthony

(Detail of Hieronymus Bosch Painting, “The Temptation of St. Anthony,” 1501)

Like my birds, the gods need my heart in pain, and in glory. And I need them and call them back. One of my last of dwindling tools are words. But the permanency of words, the dispelling of mystery, can keep them at flight also.

And half of my grammar is unavailable to me. Not just because I am sick, but because it was a grammar we shared — and he took it with him into the underworld. An underworld I glimpsed with him and am terrified of. And like his ashes bellowing out of the crematorium a few days later, inhaled into my head with unspeakable dread, those words have broken up and are dispersed into a fading language I am not sure I have faith in anymore.

Hieronymus Bosch detail from Temptation of St. Anthony

(Detail of Hieronymus Bosch Painting, “The Temptation of St. Anthony,” 1501)

A friend eulogizing the author Marguerite Yourcenar said, “God has loved me very well through certain people.” Breaking out from the dread is the light of gratitude for those certain people. To see each other completely and still love. Not easy because we take flight ourselves, we look away. But there are those people who have come to me and are the beacon for gods I may never have known, except that they are near, in flight, rising in flocks startled by these predatory words.

And it is in the dark, the extending nights, when Fox Sparrow migrates from his remote, unknown breeding place, following an ancestral path. He does not go gentle into that good night.

“Oh good Lord, who may escape from these snares?” — The Temptation of St. Anthony

Aside

To discover one’s own absence is to discover one’s immortality…

20 Saturday Jul 2013

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

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Tags

Agnes Martin, art, birds, George Steiner, mystery, nature, poetry, San Pedro Valley

Another entry for my new project: Here is Where We Meet. http://thebirdsofsanpedrovalley.wordpress.com/2013/07/20/to-discover-ones-own-absence-is-to-discover-ones-immortality/ Photo, by Summer Lee

“Here is Where We Meet.” — John Berger

11 Thursday Jul 2013

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

≈ 1 Comment

Tags

art, birds, John Berger, nature, philosophy

I’ve started a new project, an off-shoot of this one. I thought it deserved its own place — since it is about my relationship to a meaningful place.

http://thebirdsofsanpedrovalley.wordpress.com/

Photo, by Summer Lee

“When a fox is fifty, it can take the form of a woman. When it is one hundred, it can take the form of a beautiful girl. When it is a thousand, it can speak to Heaven and will never die.” — Larissa Lai

08 Wednesday May 2013

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

≈ 8 Comments

Tags

Adrienne Rich, art, artist's block, birds, Heidegger, Larissa Lai, May Sarton, poetry, The Fact of a Doorframe, When Fox is A Thousand

They left me last week, as was bound to happen.

But back in time, societies marked the first day of spring by the arrival of swallows, the same birds you might see outside your window right now. They cut through the air with imperceptible wing beats, more like the bugs they chase than bird-like. They sweep faster than my camera can focus, weaving invisible flight paths like loose braids in the ways my own memories criss-cross and become farther from truth, but in a way closer to me. And similar to memory, it’s as if one random clear day, they appear out of no where, just as likely as emergent from the ground underneath our feet than arriving from distant lands.

 IMG_1761 II

The same people believed that a fox could also be an immortal woman who prowls the night.

“When a fox is fifty, it can take the form of a woman. When it is one hundred, it can take the form of a beautiful girl. When it is a thousand, it can speak to Heaven and will never die.”

Our dear neighbor, Chuck (there is no better neighbor for warm mailbox conversation and handyman referrals and trinket-gifts to our scavenger son) has just spotted a fox traipsing along our backyards. Back there, the ceanothus is putting out snowballs of periwinkle blue, its branches forming undulating waves under which birds and snakes alike find refuge. And now this fox. I wonder what she wants to tell me.

Ceramic birdfeeder and goldfinch from my frontyard, 2008

(Ceramic snake birdfeeder, by Summer Lee, 2008)

May Sarton has been speaking to me through her journals. She tells me to make an art of solitude, of which I have a lethal deprivation these days. Solitude is not for everyone, she seems to say through her doldrums and delights. You can get stuck with yourself there and self-berate endlessly. But beyond that, there is an expanse that wants to be explored with ink, words, light. Silence.

Heidegger says getting to that place begins with willing not to will. By intending not to intend — which for us humans, hungry for connection and to be special, anxious for security and accomplishment, is pretty fucking hard. And only after that little unlikely step, can an awakening to an inner releasement occur. A lettingness. Gelassenheit, he called it, borrowing from ancient, mystical German text. In turn, through Gelassenheit, we are let in. The most mundane glint of light through a swath of paint on a centuries-old, unknown painting brings me to my knees. Or the tiny yellow feathers of a pine siskin is a sign of god. Or, on the other hand, nothing happens. Like Adrienne Rich’s fact of a doorframe: we may go through, but it makes no promises.

And for good reason, since that mystery is the foundation of being. But I forget. Or as Heidegger says, I fall asleep thinking I am most awake. And during my restless slumber these clear spring nights, the fox wanders through the moon-glazed fields of my backyard, hoping I glimpse her and remember before she changes form again.

So, despite my circulation-squashing chokehold on all trivial things right now — whether to have another child, how to produce an acceptable art piece, how to be a good parent and partner, how to protect wildlife and destroy the gun lobby, how even to slow down bastard time as it mocks my appearance, my memory, my ability to get anything done — I accept that those tiny pine siskins have left my feeder and have gone north for several years, if they return at all. They are faithful to a rhythm older than time immemorial. Not to me. And I’m so grateful.

By John Singer Sargent

(Painting by John Singer Sargent)

“The shadow is a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well… For what comes after the door is surprisingly enough, a boundless expanse full of unprecedented uncertainty, with apparently no inside and no outside, no above and no below, no here and no there, no mine and no thine, no good and no bad… Where I am indivisible this and that; where I experience the other in myself and the other-than-myself experiences me.” — Mary Sarton, quoting Carl Jung.

“Poets became the true accountants, and their ledgers contained the un-profitability of the human soul.” Michael Marsh

31 Monday Dec 2012

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

≈ 2 Comments

Tags

"Anyone can sing", bird watching, birds, birdwatching, Michael March, poetry, Thoreau, Walden, William Ayot, writing

“…the fine print, the small type, of a meadow mouse.” — Thoreau

Behind my eyes is a geometric pattern, the dark blue lines zig zagging and dotting in that 1970’s way around white, repeated ad infinitum on the wall of my grandmother’s breakfast nook I haven’t been in for almost 15 years. It’s there when I rub my eyes in fatigue, who knows why.

On the other side of my eyes, you might see fibers of dark grey, green and ochre around a black circle.

But around the black center of a white-crowned sparrow’s eye is a dark mahogany-red. Inside the abyss of his eye, I can only imagine he is terrified as his heart races in my hand, little short breaths heaving his feathery chest. With the most delicate of touch, I run my finger up and down his body and make promises I can’t keep, still horrified by the thump of his body against the car window. His eyes blink fear and innocence straight into my eyes, but he has no control of his body, which has collapsed belly-up into my palm.

Minutes later, I declare it a minor miracle that he hops out of my makeshift hospital box and is gone. The next day he is returned to the glorious flock of 50 birds working over my now-expensive winter feeder.

Meadowlark by Summer Lee, 2012. watercolor on paper

(A recent watercolor: Yellow happens to be the precise spot where the eye tunes into the sequence of color frequency — it has the same vibration that stimulates the retinal nerve-ends and causes the phenomenon we call light)

Obviously, these birds are my favorite words, my favorite swath of paint — and I am ever envious of those musicians who have such mastery over the wild flocks of notes and melodies, every single beat tamed at the same moment they are also alate.

— and yet, among the most rigorous creators, there is a holy acknowledgment of the not-coincidentally aleatoric. Who knows to where those wings will fly.

After 8 years of minding this winter feeder, I know every resident from migrant as I welcome new offspring and pray for the missing. They are a light, a moment of solitude along my bustling path in and out of my home in this dark time of year. Their hearty feeding is proof of a cold darkness stretching longer than what daylight allows for warmth and food. And maybe my dedication to their feeder is an understanding of these fickle and insufferable days.

Anyone can sing, but there is astonishment that the wonder of words still visits me, like the small group of diminutive, navy-blue and chestnut nuthatches, who for some reason are eagerly taking my sunflower seeds for the first time this winter. They dive into the top of the bare tree, then climb with their powerful claws head-down along the branches like woodpeckers, whom they are always adjacent to in field guides. At the feeder, they grab a singular seed into the tips of their needle-tipped beaks and with a few nasally yank-calls, fly out of sight along a bobbing flight path, into the mysterious.

The next day my son playfully repeats, “dammit” as I scurry out of the car to grieve the little brown body lying below the same car window next door. He also says I am going to eat this bird after watching me consider its life, its body, photograph it, then gently wrap it into the freezer — not an absurd conclusion on his part. I don’t tell him that this bird had not yet developed golden plumage along his crown, being this sparrow’s first winter. He was born last spring in a forever-unknown location on the western coast of Alaska and followed his flock over a thousand miles, maybe two, to our feeder. Probably just like his genetic ancestors have done since time immemorial. But even so, my son asks me if the bird cries. No, but the song says it all.

http://macaulaylibrary.org/audio/49913/play

The loving details of this bird life in my mind’s eye are already fading — I’m no master at this — but I can hear his song and his eyes have gone dark.

“…to face the possibility
that your innermost core may hold nothing at all,
and to sing from that – to fill the void
with every hurt, every harm, every hard-won joy
that staves off death yet honours its coming,
to sing both full and utterly empty,
alone and conjoined, exiled and at home,
to sing what people feel most keenly
yet never acknowledge until you sing it.
Anyone can sing. Yes. Anyone can sing.”

— William Ayot

“Language simply ceases… The poet enters into silence. Here the word borders not on radiance or music, but on night.” George Steiner

17 Monday Sep 2012

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

≈ 7 Comments

Tags

art, bird watching, birds, George Steiner, music, nature, Rilke

The outskirts of Tahoe National Forest. I followed the early morning mists of little winged bugs along the edge of a forested reservoir, a small cohort of Audubon’s Warblers chasing them also. With a mind galloping through what if’s and what-nots, I sat next to their cathedral, a half-dead tree once under the water line. Its branches stretched arthritically out towards that which feeds it but also puts it asunder. One by one every species of woodland bird worked its way out of the dense pine forest to that diminuitive tree. They would land with a pause, flit a little, perhaps taking a careless bug in this gathering place, then sail down below to the stony water edge. They were singing me stories of wretchedness, of betrayal and harshness from those who didn’t believe they know better. They described predators with only few survival skills who violate their homes, even when their bellies are far from empty. But they also sung of the little joys of sunlight, improbable births, childlike pauses, and cool reservoir water. Fiercely aching nights and warm morning updrafts. And times when every species and variety of plant and bug is available, and times when their children grew silent in the cold. Warblers, nuthatches, wrentits, chickadees, flycatchers, a few I didn’t know, and a rufous sided towhee — the little delicate species, the singers. My favorites. For years this lasted. I have been devoted to them.

Someone once said that birds remind him of an existence before human civilization, of times outside of wars, laws, buildings. Before human suffering and its impulsive response of further suffering. But these birds were not solely of the sweetness of summer, though they had the resilience and the evolutionary wisdom to live as if that was all they knew. Because today it was summer.

(A photo from my studio, by Shae Rocco).

It seemed my birthright to make an offering. Give something, though those little birds of course needed nothing. Steiner reminds that art is free, gratuitous, not for anything, so much so that every artful creation calls forth an awareness that it might not have been. So somehow turning this moment into a drawing or even writing seemed superfluous, like a scarf around Rilke’s torso. And it is.

Because in this moment I also felt like I might not have been, that everything I’ve done and made might have been otherwise. I felt humble, like the chanters of holy songs, whose talents are free and freely given. So, for whatever reason, because I was perfectly alone, I began to sing. My mom would be excited to know I quietly sang songs from her faith, maybe because that foreign language seemed as intimate and yet dispossessed as the birdsong around me — it contains a hint of something inextricable even as it is unknown. And despite my usual anxiety of needing more, I had a moment of needing nothing, a necessary condition for gift-giving, even if it is song-giving. Towards everything surrounding the birds and all the radiating objects and memories and people I know and knew. And as the scene pulsated, the birds neared me one by one as part of their ritual, into otherwise lethal distances. A Townsend Warbler landed a few inches above my head. After that a Kinglet slid down to the frayed end of a branch four inches from my eyes. Another Audubon’s Warbler almost upon my shoulder. They exerted themselves to me. And so I cease to sing.

” — for here there is no place that does not see you. You must change your life.” Rilke

“All our heart’s courage is the echoing response to the first call of Being which gathers our thinking into the play of the world.” Heidegger

09 Monday Jul 2012

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

≈ 9 Comments

Tags

birds, Morris Graves, poetry, Saigyo, suffering, the moon, the muse

It is funny how the muse works. Even as I am distracted by the art-killing, mundane requirements of life, something persists to whisper to me. Thankfully. Even if those whispers are drowned out by the storm-like babel of Rilke’s crowd, they emerge almost imperceptibly like fragile threads of lace woven by frail hands into the dwindled still moments of my life. Little by little, something clearer and compelling forms itself together. Like a glimpse of Virginia Woolf’s pattern. And then I wonder regretfully what art could compose itself had I been able to listen more.

Tonight there is something about the moon. Except that it is so foggy here I cannot actually see it.

Last week at the shelter support group, we presented education on domestic violence to the women who are living there, escaping it. We try to instill a framework of what they experienced, perhaps so they can avoid it in the future, but also to reassure them that what they experienced was real, and that many, far too many, have experienced it also. As has become routine, we end this session with asking them what is a healthy relationship — a question most have not considered, nonetheless those who have wrangled with an almost lethally unhealthy one. But this evening, some of the women had definite ideas.

It came time to go around the group for their closing thoughts. One woman, the newest to the household, had been stone-silent the entire group. Just when I thought she would pass her turn, she began slowly to speak. She glared into my eyes and said that our discussion had been hard. It made her feel hurt, but also ignited an anger towards the person who had hurt her. She wanted vengeance even. She wondered how could someone begin to consider healthy relationships when they are mired in a bad one. To the point where it is no longer clear what is healthy and what is not. That we begin to become unhealthy too, starting to do abusive things ourselves because of what we experienced, over and over. How can we even hope for a good relationship, she asked, in a way that embarrassed me in the philosophically-flawed notion of future-tensed hope. She pleaded, but not in a way that warranted an answer, other than the tears welling all around the table. All I could do was put my hand on her arm and say that I was so happy she had responded.

That night driving home, the moon was so low and radiant in my horizon so as to be a guiding beacon for my car. And perhaps because I was tired and raw, the moon conjured something romantic, melancholy, poetic. At first I wanted to explore an annoying litany of philosopher ideas to articulate my connection to this strange, glowing disk hovering incredulously over the skyline. But what most came to mind, to the part of me that wants to translate these moments, is that simply, the creme-lit, distant landscape is a place I will never visit. Completely unreachable. Yet it persists in my darkening sky so predictably that civilizations could measure their time by it, more accurately than by the sun.

The next day, a friend wrote me an incredibly poetic email from her artist retreat in the countryside. It was correspondence tending to the heartening and savory details of nature available to only those who know true and enviable solitude. And of course it was full of Birdness. In it, she mentioned that I might like a talk that her Zen Buddhist teacher gave on suffering, as it is my relentless theme of late. As I listened to his illuminating talk, I received a hint sewn into the pattern. Her teacher read the poetry of the medieval poet, Saigyo — a poet almost obsessively concerned with the moon. A symbol of enlightenment, the beauty in the breath-taking and indescribable culmination of accepting the painfully ephemeral and suffering nature of being human. Always there, but practically unreachable.

Winter has withered

Everything in this mountain place:

Dignity is in

Its desolation now, and beauty

In the cold clarity of its moon.

This is what the muse left me this week. I know it’s not my job (nor am I able) to weave it so tightly together with meaning and language that it would suck the air out of the atmosphere and extinguish the moon one might see tonight, the moon throughout one’s entire life. But I am astonished that somehow a poet, from across the divide of 1,000 years and immeasurable distance, reaches to me through the chatter and knows intimately the miraculous moon that guided me home that withered night.

(Bird Singing in Moonlight, 1938, by Morris Graves)The rest of the poem is here:

http://ladynyo.wordpress.com/2012/04/12/mirror-for-the-moon-a-little-poetry-of-saigyo/

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