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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: philosophy

“The terrifying groundlessness, the eradication of all violences. To be embraced by that which doesn’t know us and in that unknowing caresses us and truly loves us. We might become anything at all, something wildly other than what we are encountered by. A world that truly loves us by not presuming what we want or what shape we will take before we show up… We will be held when we are not known from the start.” — Dr. Marquis Bey

06 Monday Jul 2026

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

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art, Étienne Souriau, Being, birding, birds, birdsong, birdwatching, Crossings, death, Dr. Marquis Bey, homecoming, nature, painting, philosophy, Photography, Summer Lee, Summer Mei Ling Lee, tragedy, travel, Vinciane Despret, Virginia Woolf

Last year, there were vireos, grosbeaks, and warblers raining down on me with their song, from their canopy above a steep climb through the pine and aspen canyon, Ouray of the San Juan Mountains. This year a fire erased it all and was still burning as we flew out above the plumes, our pilot making a rubbernecking route as we departed. As we peered out down onto the devastated mountains, my sons held my hand as we ascended, a tradition they still abide by. And I saw the woman behind me from the corner of my eye, crossing herself.

Prairie Warbler, 2025, by Summer Mei Ling Lee

Joseph drove me from that place I freed myself from, where he was a day laborer. He had to change his shirt before he got into the van, where I waited in my impatience to break away. I was reborn like when I collected my kids and my things and my self worth and flew away from her smoldering apartment.

Joseph apologized for keeping me waiting and asked where I was going. Though he meant which hotel, I said I wanted to see his Zambia. Minutes later we were deep in conversation in the local open market. The open aluminum and wood stalls were humming at mid day with babies sleeping in the piles of vegetables and housewares, and women walking in groups with their bags and baskets. I bought vegetables from his aunt, peanuts from a man and his son, and I can’t remember what else, but in a short time his van was full of food. I told Joseph to bring it all home to his wife, what would I do in a hotel with any of that anyway. I was down to my last $20 USD in kwacha, a week’s wages for the better off there, when Joseph said he had understood me now. The last spot he took me was under a tree where women sat on the ground with some vegetables. He told me these women had to take a bus for two hours to arrive to that patch of dirt at the end of the market, to try and sell what little they had. I said for him to pick someone and give her my last bit of money. In a few minutes, he returned to the van with a fistful of onions he threw onto the pile of food. He said the woman was very grateful, told him to tell me thank you, but she had to give me something in return.

I would understand soon that many Zambians were orphaned young, and that famine lingered. They didn’t come out and tell you this directly but a few sentences in and they were missing their mother who was a good church singer, who even while dying asked her son if he had eaten something.

During our drives around the area, Joseph became less a guide and more a confidant. Joseph had some disappointment with his wife, the unfairness at his workplace, the different ways Zambians did things. How his young parents got sick, one after the other, and died. One evening, a story came up that he said he hadn’t told anyone. He had been taken in by an aunt who was mean, making him choose between school and food. He told me more than a few times that he knew what hunger was. He said one night when he was a boy he was dreaming and a voice told him to get up and walk the road. It was 2 am but he did it anyway, along a red dirt road just like the one we were driving along. Pitch darkness except his headlights and our imaginations. He said that he walked about a hundred yards and found coins lying in the dirt. It was enough to let him eat the next day. The next morning no one believed him and he didn’t try to convince them. I said it was an angel, thinking silently to myself about his parents somewhere in a different mode of existence. He said from then on he started to believe in a god, that there was something bigger than all of us that we couldn’t make sense of. His god was loving.

Ten years ago when I had to move thousands of miles away from my native land, I found a nest that fell to the ground in the yard of the home I was about to leave, I separated the fibers and fluff of the nest and sewed them into fifty cards and sent them to everyone across the country and the world who had given me a sense of home. When I told her about the project, she told me, you had to become displaced to find your family.

Soon after my time with Joseph, I found myself on four continents within a few months, and home became that tiny piece of driftwood I once photographed, where a Common Tern perched forty miles out at sea with no hint of land anywhere on the horizon.

Adrienne said this is where the utter vastness of patterning arrives to us in 3D rendering. I said Virginia Woolf called it the hidden pattern behind the cotton wool of daily life. I droned on about miracles, and she said: yes, they occur in the crossing, when the pattern breaks through and reminds us of what we are normally cut off from. And then she sent me a poem where multiple realities are happening all at the same time, the most superficial one being a young girl declining a stranger’s invitation.

Are there unlived lives?

Joseph tells me in the same sentence that he is ready to leave the earth, and that he adopted and is raising two orphans of his own.

And yesterday, emerging from the smoke of the western Colorado fires, the Black Grosbeak and the Yellow Warbler alight upon branches within feet of each other and despite everything, sing each other into being.

Common Tern, 40 miles west into the Pacific Ocean by Summer Mei Ling Lee, 2026

Images dream within us, a reverie is a world of expansion.

06 Saturday Dec 2025

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

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art, birds, death, Gaston Bachelard, George Steiner, philosophy, poetry, reverie, Summer Lee, Summer Mei Ling Lee

unwantedadvice.wordpress.com/2012/08/04/words-are-little-houses-bachelard/

(Looking for a blank page, I wandered into a moment of my 13-year old musing below, asking for new birds and another flight.)

“Words… are little houses” — Bachelard

The 12th century Japanese poet, Saigyo, lived in horrific times of war, chaos, and scandal. He descended from a lineage of warriors, and after violent service to the Emperor, he took up the robes of a monk and the pen of a poet to both understand and release the straits of human-ness, his metaphorical and literal bloodstained past, the limits that all humans are born into.

Bird in my Journal, by Summer Mei Ling Lee, 2025

In both life and writing, he became a homeless wanderer. And it was during these unceasing peregrinations between mountainous temple sites and towns that he used the ability of nature’s images to capture all that matters through deceivingly simple words.

An ancient field

and in the sole tree starkly

rising to its side

sits a dove, calling to its mate:

the awesome nightfall.

In his poems, words as single ideographs balloon with layers of meaning, and no one meaning stabilizes over another. What we think is important becomes indistinguishable as night falls. What remains there is the gift of the dove’s birdsong lilting in the dissolution of light — into awesome darkness.  As Sam Hamill writes, thoroughly intimate with Saigyo and profoundly aware that song might be the last thing heard, that words are the springboard into nothingness:  Those that I love are more beautiful because one of us will die.

I recall the moment driving home from the hospital after giving birth to our son, a process that even in good circumstances is seismic to the foundation. And in my case, I exhausted myself to the point of an acuity of my mortality. So there I was, dispossessed, with one foot still in the non-world, while my family packed up the days-old baby asleep into his carseat, also with one foot in the non-world. We were heading home.

Oddly, our destination in my mind’s eye was my childhood home. Driving down the familiar coastal route, I only saw my childhood living room with the wretched, green upholstered chair that I spent so many hours in, there under the expansive pane of glass through which was our neglected garden, littered with robins pecking at unwanted cherries. Even when it became clear that this was not indeed where we were heading, that the last time I stepped foot in this house was decades ago, I could not understand how to get to my current home, the one “known” for the last third of my life. I experienced a moment of homelessness.

Of course my literary hero, George Steiner, drawing on writers ranging from pre-classical Chinese poets to Holocaust survivors, professes this homelessness, that we are always guestworkers, “frontaliers in the boardinghouse of life,” regardless any distraction from this eventuality. It is the same for Dante, in his love for Beatrice, who travels through the three realms of the dead. And that the epic narration of Odysseus is in his journey, the textual death occurs when he reaches home.  Chuang tzu’s free and easy wandering, which is incredibly not free, nor easy.

Because we are human. We need a home. If we are to have a home, according to Bachelard, it would be like the fragile nest. Every precariously woven-together twig and dried straw comprise our human desire to hope for the future, and the precious eggs it cradles — but also the acceptance of its propensity to decay, fall apart, to be destroyed — to be ephemeral. The nest acknowledges the potential for me to be without the soul-killing need to push against Being, distracted from where the beauty of it lies. I have exhausted myself in my will to make things certain — because, as I am reminded in my changeling son, the infinite little losses in my body, my relationships, my art-making, and how in this moment right here is the possibility of perishing — words are anything but certain.

Schalow’s Turaco, Zambia. By Summer Mei Ling Lee, 2025

“When you are philosophizing, you have to descend into primeval chaos, and feel at home there.” Wittgenstein.

“For the natural world, the ethical responsibility is that being alive gives existence to others.” Vinciane Despret

24 Saturday May 2025

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

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art, birding, birds, birdwatching, death, Joy, nature, philosophy, Photography, poetry, Summer Lee, Summer Mei Ling Lee, therapy, Vinciane Despret, wildlife, writing

Chestnut-backed Chickadee is very dutiful to the nest in our backyard, one that we have followed for years via the bizarre technology of micro-cameras in nest boxes and our large screen TV. Precariously late in the season this time around, she laid two eggs and sat on them for over three weeks, not realizing the eggs were no longer viable. I tried very hard not to associate this failure, our first ever, with the invisible warfare around me. But the experience of her tiny, formidable body in the middle of the night pulsing rhythmically on those two non-viable eggs crescendoed into a menacing dread.

Eventually the internet registered an obituary for my therapist, confirming that she succeeded finally in terminating our sessions for the reason she said, and not because she needed a big excuse to overcome my refusal. She made it 10 months after the day she left me that voice message explaining she needed to end our 10+ year project. When I found the obit, I immediately replayed that voicemail to join the real voice to the disembodied voice in my head that arises when things are emotionally grueling. This time around, I heard what I missed before: she was holding the space for me when she was reckoning with only 10 months of space ahead of her.

American Redstart, North branch of the Chicago River, May 2025, by Summer Mei Ling Lee

I was in London when she called, and had just sat breathless through one of those explosive Italian operas where people cheat and lie for dumb human reasons, and then the most innocent die while the egomaniacal people are guilty too little, too late. So I had a lot to cry about, losing her as a therapist and the world imminently losing a good soul. I drew her a bird that came out faint and shy-looking, with big eyes, and singing, probably a good simulacrum of her. Behind it, I wrote a William Stafford poem and told her she was the coach I always wanted to see down the third base line when I had to go up to bat, bases loaded, two outs, several runs behind, and someone just handed me a bat with a hole in the middle of it. She knew well the type of coaches I mostly had who motivated players through tyranny or perfectionism, like my inner one. I reminded her of the times early on when she had me call her first thing in the morning to let her know if I had faced the specters in the dark night of the soul. We both know she never billed me nonetheless mentioned how those calls were not in the schedule.

She answered back to my bird card on Christmas Eve saying in her midwestern way that my words meant a great deal to her, and added her best wishes as we moved from the darker part of the year into the growing light.

Back to a few days ago, what I could hear most of all in that voicemail, is that she seemed fulfilled to reflect on how much I had grown in those 10 years, and as with the best gifts, the beauty of our work was there not because of anything I particularly did, but as an aleatory result of her long career of studying, listening, and supporting hundreds of people long before I even came along.

I took these tears back to the bridge overlooking the north fork of the Chicago river, a river whose direction was reversed in the industrial age, because that seemed easier than stopping the pollution of it. My therapist and I had many reveries about rivers. My favorite ones being about smashing into the banks, sometimes recklessly, and needing to course-correct. At times, I think she was white knuckling the oars for me more than I was.

Her bird drawing, by Summer Mei Ling Lee, 2024

Now over this bridge and this river, warblers of twenty-plus species and an endless palette of colors filled the trees along the banks as far as one could see downstream, like bits of popcorn flitting over the water from the greenery and back. And as not often happens, my fellow birders in our exuberant yearly reunion fell silent. I thought of Craig, to take his palpable silence around all the trailbends of the area and summon him here.

I am sorry that I want so badly and try every time to put words to these moments: these fragile, tiny, colorful birds dropping down out of the darkness, somewhere along the middle of their thousand-mile migrations, just where I happen to be. How we greet them, try to still them, what they say to us. And then what we say to each other. Even to those who are no longer here.

When I returned home with a camera heavy with hundreds of blurred warbler photos, my boys’ hands tired of feeding Chicago chickadees, I overcame my dread and turned on our chickadee TV. Oh god, I mumbled as her body was still curled on that nest, breathing heavily. “What is it, mama?” She still doesn’t know.

As the day opened up, she finally moved off the nest to go forage for a snack. And there in her place were 5 more eggs.

“The subject is only the transient addressee of the verb which seizes it. Every subject is in a becoming not only of their own action but in the multiplicity of actions that overflow them.” Interview with Vinciane Despret, Grimté, January 23, 2023.

“Those with wings, those without, / the ghosts of the heart / — whose hunger is a dress for my song.” — Brigit Pegan Kelly

02 Thursday Jan 2025

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

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art, birding, birds, birdwatching, death, Loss, Memory, nature, Paul Celan, philosophy, Photography, poetry, Shakespeare, Summer Lee, Summer Mei Ling Lee, Vinciane Despret, wildlife

681.

To measure a life from the periphery.

The periphery is where birds live now, eking out existence in our built environment. Vinciane Despret also explains the periphery as where two conflicting demands can be held together in a vitalization resulting from those clashes and stimulation. It is where birds sing their territory. It is where nature and human modernity meet. It is the veil through which we mortals greet our disappearance. In its intensification of the things that aren’t yet perceived, the periphery is the place of artistic creation.

Annunciation VIII, by Summer Mei Ling Lee, 2024. Paint and gold leaf on wood.

Once I was at the periphery where on one side I would be ok, the other I would not. The place one arrives to after the loss of beloved things, which mostly reveals the limitations of my scaffolding and confabulations. I ended up in her office. She was a midwesterner, a plain and small, older woman who had come out of the managed healthcare system. I plainly admitted that my terror was that I couldn’t be helped.

The best healers do not make interpretations behind the backs of their patients. They resist the “simulacrum of intelligence on the back of the stupidity of others.” There on that clinical couch of her spartan and chilly office, just when I trembled in the anxiety of being a lost cause, she rolled her chair towards me and she reached her hand to firmly hold mine. She said sternly and confidently that she could help me. By grabbing me, she broke through that boundary of professional etiquette. But even more I registered that she didn’t know she was going to do that. She had the strength to answer to the moment. And that spontaneous responsiveness was real strength that no one can train for or read about or theorize.

After 10 years of seeing her, and after the last three years of nudges to fledge me, her cancer returned. She retired and flung me out into the wilderness. There is nothing more I could say or ask for — there is nothing left to explain. I drew a bird and sent it to her.

I might have been satisfied by the 35 or so anytime in my yard, but this past year I saw 277 different species of birds, right here in my own county, where I was born and raised. I saw 481 different species everywhere I wandered off to. In perspective, this year there were 4 other birders in my county who saw more birds than I did, and hundreds who saw more than I did throughout the world. Still, I abandoned myself to an attention that brought me into an intimacy with my native land outside my immediate yard.

This native land consists of precise sachets of memories as much as ecological specialization. One particular species of gull prefers one beach over the others, because the fresh water they need to survive pours into the ocean where the sands are flatter and can host more crustaceans they are specialized in eating. It is one beach out of dozens where we sifted through hundreds of gulls to try to find one rare gull, the first Siberian visitor to the continental US. It was the same beach where I was many times a near-hypothermic child who couldn’t resist the Pacific water tumbling over my feet, watching the sand bubble up where those crustaceans bury themselves before the next wave.

For 7 years in a row, Tufted Duck, off-course from Europe, wintered on a pond near an athletic club, where for our last day of high school our entire class spent the night, one last time together, signing yearbooks and playing ping pong. And then the next morning we dispersed into the rest of our lives. This year, Tufted Duck did not return.

While I was in the void 30 miles west on the Pacific Ocean, far from any landforms on the horizon, looking for migrating Arctic Terns and Sabine’s Gulls, thousands of dolphins suddenly broke the surface of the water as far as one could see. Just as quickly as they had rendered us ecstatic, they disappeared back into the void.

And along the ridge on which at 16 years old I first kissed a woman, there is a migratory path for Varied Thrushes, and when we were greeting them, a species of Crossbill touched down into a small pine in front of us — Cassia Crossbill, for the first time ever recorded, had immigrated into my county, crossing over the Sierras from its decimated forests of Idaho. The only way to know is by recording their calls and sending it in for confirmation from those who obscurely dedicate themselves to such distinctions.

I won’t bore you much longer, but maybe it is more imaginable now why Pietro and I sharing only broken English could spend two straight days together, seeing 102 species in a delta half-way between Africa and Siberia, and never stop talking about them. A Little Owl in the early dawn light, perched on the eave of an abandoned building, then the warming updrafts conjured a Red Kite over the hills. Until sitting in the dark in a field behind his hometown, as shadows of Eurasian Woodcocks sailed over us from the stand of pines into their nightly roost in the plowed field. And even later than that, owls circled around us, barely perceptible like swirling apparitions of the imagination. Whether they were one species or another, and all the stories in between, was more than enough to fill a conversation on the rural roads back to my farmstead.

A man a continent away who knows what arrives on different directions of winds, who prefers the slopes of certain beaches, and what happens on foreign trees and in pockets of warm air of his region — as I am coming to know mine. We also witness too closely, bird by bird, the horrors of modernity — the loss of habitat to human profit, the flippant carelessness away from Being — threatening to ruin it all.

Pietro on the third day, and the hills of Bologna, 2024.

As things slip away, like Tufted Duck, as they do when one realizes life in years is more over than it is beginning, time on the periphery becomes more precious and any aliveness, wretched or wonderful, can be understood as bittersweet. Abundance. And god help me, there is also the sting of every time I fell short of love.

680. (Malia Defelice’s 400th county bird). Watercolor by Summer Mei Ling Lee, 2024.

“It gleamed.” Tenebrae, by Paul Celan

“Not tears of fear but of grief. She wept as we weep once or twice in our life. Tears that carry amniotic fluid and sea salt and the dreams of sirens in them, that hurl truth, sorrow and defiance into this world, all at once. As she wept, she wiped the tears over her bruised and muddied body. As the tears made tracks, her skin started to gleam. Clean and bright again.” Martin Shaw

31 Sunday Mar 2024

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

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art, birding, birds, birdwatching, grief, Martin Shaw, nature, painting, philosophy, poetry, Smokehole, Summer Lee, Summer Mei Ling Lee, wild, Wilderness, writing

Because the vagrant snow bunting had appeared in my yard before waking, I knew when she called that he was dead. And upon hearing her voice, I began sounding like a strange bird, just uttering no, no, no. As if songs can magically push out reality and hold back time for just a moment.

What’s hard about this one is that he was inside that cathedral with me for many years, and I can still see him running back for me when the most rarest or most gorgeous bird was ahead and I hadn’t caught up yet. And of course, how he told my sons the exact trees where the chickadees were waiting so they could feed them from their hands. How I would wake up and say let’s drive out hours into the prairie to see this lifer and he would always beat me there. And now without warning except for the apparition of a snow bunting we had seen one windy day together two years ago, the cathedral is more empty. With that disappearance, my ancient rituals — timed with spring and fall migrations to welcome the beings from thousands of miles away as they pass through — have fallen into obsolescence.

And here is the ritual of writing, which lately (I apologize) tends to be predictably filling out absences with words. Because he told me, nothing can better bring back a presence than by just the uttering of it.

Nathan sent me some words about the stories we need in our lives and are less and less being told. And in those time-tested tales there is always a moment when we are thrown into the belly of the whale or into the dark woods or what have you. The writer says we are most cautious now of that wilderness, even having chopped off our hands to stop touching what is alive, and asks us to go sit willingly in the wild places and listen to what speaks to us.

I am using words here to listen, deep in another wilderness, sent here by the loss of a soul that scaffolded me, who saw hundreds of birds by my side as I looked at them too. Who sent me birds in every form, and delighted in my birds. And tried as he could to birdwatch in these stupid writings here. I have nothing to offer here because I am still in the wilderness listening, covered in mud, bruised in the middle of me, and seeing ghostly figures in the distance, those who I miss. They somehow feel nearer and nearer to me as I approach my own disappearance.

And yet, by some grace, so much gratitude, there is thanks for those who are waiting in the nearby village, full of love and mercy and words and bird feathers for me. Coming back to tell me they also can hear a beautiful bird just ahead, and they will help me find it.

(Annunciation, 2024 by Summer Mei Ling Lee. 23.5 k gold, watercolor and oil paint on wood panels.)

“To be wedded to the wild means some part of you — maybe a large part — guards your solitude like we guard an endangered owl, tells stories as much for the benefit of the lively dead as the moribund living, makes wayward choices many view eccentric, is capable of sustained generosity, has flashed your teeth and counted costs, has dragged meat back to the cave under the moonlight, has stalked all of Russia with only a line of Anna Akhmatova for company. To be wedded to the wild means you have curated a doorway beyond societal expectation of the perpetual, grinding tic of acting nice. That you have recognized discipline as the essential companion of the wildness, that sobriety and ecstasy have made a pact.

That is how good art gets made.” Martin Shaw, Smokehole

“The Infinite Cage” — Joron

07 Tuesday Feb 2023

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

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art, bird watching, birds, birdwatching, death, Home, memoir, migration, nature, painting, philosophy, Photography, poetry, Summer Lee, Summer Mei Ling Lee, words, writing

(With a few words in a note to me, she tore open the blank space here, and asked me to write again. Her gesture brought tears, in both senses of the word, and so it starts with tears — because it involves breaking the icy river, the cowardly reluctance to thaw it, to think it isn’t always flowing underneath.)

(Santa Croce ceiling bird.)

Beauty, Nathan reminds me.

What of my small experiences wants words to land them here. What birds would touch down from untouchable sky in order for me to see them, count them, photograph them, devote myself to them.

Because now these birds seem wild and unbelonging like the work that sits months waiting for me in my studio.

Last week we made a strange reunion of local birders on the back porch of a stranger’s house, to peer over a fence into the neighbor’s yard to glimpse a young Summer Tanager eating desperately at the feeder. He was undoubtedly wayward and far from home territory because of the onslaught of coastal storms. We were welcomed into that space and to each other, with only a quick mention of the mass shooting that had happened the day before shattering our small town. Then, the bird arrived, and as Eva describes, we wandered into the center of the circle of wonder. Summer Tanager was the greeting.

How often I delude myself to be disconnected from it all. And as Eva exclaims more loudly, impatiently, because the most obvious is the most difficult — we are always in the circle of wonder, never outside it — and we can indeed find center. Never by our own narrow volition, but by wandering.

(Red Phalarope by Summer Lee, a pelagic bird brought inland by storms, 2023.)

But I want words for those birds, those moments — not the ones where I tenderly helped unclench his fingers from the hospital bed, or the impatient coldness I can turn towards my own children, or how exhilaration smothered grief when driving away from her hopeless apartment for the last time. Not for the woman who rocked her body in prayer before every beautiful dinner she served and told me, this is not the life I expected for myself. And even still, not the gift of my children’s joy that persists despite me, or how I can burrow into the surrendered miracle of my new, unexpected lover.

Somehow there should rather be words for the Virginia Rail that crept out from its perennial hiding place to the spot below the window of my car. And how we caught eyes, one being welcoming another.

The people in that odd backyard meeting, with undoubtedly their own sufferings and joys, would understand. The Virginia Rail is basically all we talk about for hours and hours, even though long ago and long gone — until the next improbable Beauty arrives. And of course, those far away but close to my heart who send me words fluttering down from the sky, out of nowhere perfectly on time — thank god they understand too.

(The Virginia Rail. January 2023.)

In these birds, these words, these friends, I know is the paradox of faith, and how it takes care of us by destroying us.

I will taper down this roughly thawed cascade of words to say that 77 unique species of birds have visited my yard in the 20 or so years I have lived at this home. And I wonder about what I missed in the times I drifted away. Once a group of us chased a vagrant Dusky Warbler across a field of dried fennel, a man’s long camera lens thunking against my head to capture the bird, preventing me from photographing it well. The bird flew off confused, and we stayed to celebrate, for me the 560th species. A bewildered boy next to me scanned over the expanse of chaparral and said, just think how many dusky warblers might be out there and we would never know.

(The Dusky Warbler)

So maybe in my silence, where words haven’t been, is a backwards way to acknowledge some secrets. Not about the “yoke of perishing” we come into being with. More like finally seeing the Prairie Warbler next to the local sewage plant. That time, it took minutes to see his yellow light darting in the scrub, when the year before I spent weeks, thousands of miles away, to no avail. How some things will always escape, even as I am coming closer and closer, and reveal secrets of me that are unknown to myself even. Dufourmantelle cautions, mystery is not an enigma to be solved but prayed to, and truth is only a veil.

“Endure, o mystery of being, so that I might pull threads from your veil.” – Wislawa Szymborska

To See is to Be at a Distance. – Takeyoshi Nishiuchi

26 Thursday Aug 2021

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

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art, Barn Owl, birding, birds, birdwatching, merlo, philosophy

399 birds.

It is a silly and random number, especially when applied to the chaos of life.

I have counted 399 species of birds over the years, my life staggering and flowing with the number. With them, there are little drab stories and big colorful ones too. Births and deaths and hopes and losses, and fears and little reliefs and bits of joy. Like how, when she addresses me as “my love,” a bird flies through me. And gratitude for those who counted with me. With poems and stories and letters and sometimes just a line that says, I saw this bird. A bird, like a thought migrating over arbitrary borders, that reaches me and perches on my heart.

(Pompeii fresco)

So many gifts.

Like the story about the man who paints. We met long after we lost Takeyoshi, meeting only because we both lost precious Takeyoshi. So how could it be that we both have spent our lives making artwork from birds.

And some of those who have taken it to the other side with me. We easily slip into the private language of obsessive details about where that bird was seen and when. Daily reports of who arrived and who left. Remember that time? And all the while, I ask myself, why does this young man, and that old man, and this lost soul, and that serious cynic, why do we devote ourselves to birds. Track them. Count them. Photograph them. Why not butterflies? Or pieces of rotting fruit? What of them drives us to beyond which we can go no further, knowing the bird might be long gone.

He once whispered, It is not like I need to see all of the birds. I replied, I need to. He added, Well maybe it isn’t necessary to do so in one year.

I climbed several thousand feet up a fog-covered mountain twice in three days to see a small group of Bell’s Sparrows, a species not even listed in most books. The second day the wind opened the curtain of fog just long enough to see the tiny apparitions.

Or the other times, like Prairie Warbler who visited from far away. I waited patiently for weeks at the pond where it drinks. My friends saw it. I never did.

How futile to argue with a Prairie Warbler.

(Merlo from Sara’s yard, July 2021)

And then the ones that flew over like signs from dreams. Sometimes it was when the heart was heavy from an absence. Or there was an unexpected blessing. Like when, in my grandmother’s land, the golden pheasant was digging through trash at the hastily-restored ancient wall, or the little wren that sang outside the window of the home that stands guard over displaced immigrant bones.

Or the magpie that comes to her door, reminding her to stay in the garden rather than retreat inside. How magpies risk themselves for shiny objects, reminding us all about the unfolding, if not wayward, path. Along which there are no repositories, because shiny objects have no use in the next season, the next life. Because there is always a next season.

And scooping up the dying and dead ones, sometimes trying to save them, as if I could. In the hand, they weigh at most one or two nickels, and are soft and fearful, and heavy with mourning. How they persist so dutifully against so many odds, storms, predators, just to succumb to human ignorance and interference and land in the bottom of a muddy hole I have dug for them. The point at which finally I have learned: it is witnessing, not intervening, that heals.

In some cultures, they remove themselves from their kindred to shift their senses towards the animal world, and away from the human ones. They perform rituals to cleanse and purify themselves. Then after a few days, the animals appear to them, what we have survived upon since the beginning. And we follow.

In life, I never have had the emotional strength to keep up with where the birds take me, especially Fox Sparrow. But somehow the discomfort eases just enough to comprehend the next rare bird who I must change my life for. And less and less do I know where that will take me. But the 401st bird is already just in view over the horizon, trailing off towards this choice-less path, and I have already devoted my life to it.

The 400th Bird.

“I could never have come to the present without you / remember that / from whatever stage we may again / watch it appear…” WS Merwin

03 Friday Jul 2020

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

≈ 2 Comments

Tags

Annunciations, art, birds, birdwatching, death, Gadamer, philosophy, poetry, St Cecilia, Summer Lee, WS Merwin

The birds come and go here just as Fox Sparrow does in his homecomings and disappearances back on the West coast. Just as truth and beauty migrate out onto another unreachable continent when trying to reason with them. Why can’t you stay here to remind me, I ask through my binoculars. Just once. Their wondrous plumage and secretive calls draw us out from the smallness of our shelters, out into the rainy forests and sometimes in communion with each other, the alive and lonely. This year all the rarest of ones flickered across my field, even a tiny, crystal-blue Cerulean Warbler that spends most of his time too high for anybody to see. A Hooded Warbler touched down too, in a darkly flooded forest where he normally does not, just for two days. Then they leave and we are alone again. Maybe that’s why I told a beautiful woman birder that I saw the rarest bird, when in fact I hadn’t seen it at all. Something about the mix of her beauty and shyness, and something about me being mistaken and humbled. But maybe that bird is still there in our minds, more glorious and hopeful than if we had even seen it.

IMG_1682

(Martyrdom of Saint Cecilia of Music. Sculpture by Stefano Maderno, 1599.)

What if this wave of unrelenting and invisible death was actually a grace. Except of course for the poor and vulnerable who always die for our sins. All while I suffocate in the safety around me in the anxiety that it’s never enough. Like when I impatiently told her she just needed exercise when in fact she was just about to die, swollen with failed organs, failed also by my insulated stupidity born of fear.

One time out in the twilight of a chaparral migration, stranger birds gathered in a circle. And even more strangely invited me. They had gathered in order to die. But being birds, they had to first learn how to die through song.

I listened. And of course cried too, as one does even at a stranger’s funeral. One sang of her young daughter who died suddenly. And when the mother’s song entered the abyss of dark and permanent grief, her daughter would come sing to her, to the point where I could almost hear it too. I still don’t want to know if it was an apparition of the psyche or from the other side, because it’s the same place where my own grandmother speaks to me.

This mother had brought with her the chaplain she had met in the hospital. Yes, there is always a bird there, even if we don’t believe, and here she was in the body of a middle-aged, white woman wearing a collar. The chaplain sang to me too, as I worried about my own son treading a difficult path through life. As she warbled, we all sat crying for ourselves and for that mother. Her song was about just being there at the right time, reminding us that our bodies know how to die when it is time.

But the timing of the young daughter’s song, as well as this chaplain, was uncanny. Like the little 9th century bell in Rocamadour that rings when there is an incontestable miracle. Not all pilgrims who have climbed on their bloody, tired knees to that church will hear it. But I can hear that birdsong from that circle of death, even if they are on the other side of the earth now.

Through all the hatred to be had of insufferable humanity, its never-ending range of evils, these migratory birds continue to love me well through certain people, strangers even. Just through their words. Through the poetic words they send me, calls to the heart that rain down on me in dark, muddy forests. In poetic words, there lies the impossibility of their birdsong — as impossible as it is to hold truth and beauty too — that living is through learning how to die. One word at a time, one song, risking itself into unreachable silence.

 

“The greater miracle of language lies not in the fact that the Word becomes flesh and emerges in external being, but that that which emerges and externalizes itself in utterance is always already a word.” Gadamer, Truth and Method.

The Dialogue with the Dead Cannot Stop Until They Hand Over the Future that has been Buried with Them. — Heiner Müller

18 Friday Aug 2017

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

≈ 4 Comments

Tags

China, Chinese Bone Repatriation, death, Derrida, George Steiner, Home, immigration, migration, philosophy, Summer Mei Ling Lee, Takeyoshi Nishiuchi, Toisan, travel

I am not ready to talk about their immigrant bones, or the difficult stories that each bone box tells. And besides, most are missing, disappeared on the wayward routes returning home, displaced even after death. Or they are in almost-forgotten fields marked by stones that don’t hold names anymore, nonetheless narratives. Sometimes just numbers, sometimes just the memory held by someone’s grandson who saw him bury them over there under there somewhere. And in there could have been my non-existence. As we peered into one unearthed bone urn, the top exposed to the sky cracked open by neglect, he said, there is the way into the underworld.

I need to listen.

I am aware that each word here is an act of listening, opening a new space for the next word. And of my failings of projections and memory and desire and convention, so that some words spill out overwhelmed by chatter and are already dead. Listening, like love, comprises a reverberation between self and other, where words and acts seem to fall out gracefully and illuminated and are received as a welcomed guest.

“It takes two freedoms to make one.”

Even if my grandmother has been gone for twenty years, she speaks to me in a certain way. When she was here she couldn’t explain anything about her childhood or her crossing to the United States, except that she had a favorite brother who died young, she didn’t know how.

By dint of so many unlikely arrangements to explain here, she brought me last week to a 700 year-old village in southern China. A group of villagers greeted me with their own generous hospitality to take what evidence I had and prove it was her home. Easily, she could’ve been from a village destroyed long ago, or one where no one could help. Instead, she knew somehow. What they wanted of her to want of me to know. So I could sit in front of her burned brick house with the gift of her brother in a bone box of a suitcase I brought from his grave in Chicago. So I could witness as nothing and everything took place. I had given nothing. In a long string of no’s, I just had to say yes.

fra angelico prado 3

(detail from Fra Angelico’s Annunciation, Prado)

They asked me if it felt like my homecoming, and it didn’t. I don’t belong there in any way, or really anywhere these days.  For now, I feel I belong to her retreating voice hurled through different time zones. Or when my sons resign their sleepy bodies near mine. It wasn’t my homecoming but it was his, and hers to give him. At the modest home’s ancestral altar, she had returned her sweet, young brother to where he had just left months before he died, at age 21. He knew of no other home. Even if that year was 1924, it was last week.

In that moment of offering inside my grandmother’s childhood home, and earlier on that slave mountain where we hiked for hours with that suitcase to their humble tombs, I asked about home. The calls of the flightless geese from the farms surrounding the village were deafening. Eventually, I understood that he belongs with my grandmother on her mountain overlooking this ocean. Some migrations are irreversible.

There is a lot of fear in listening, of unanswerability, of surrendering to silences too long to bear. In her words, it is the absence that the child can tolerate from the mother and no longer. It wants to choose a withdrawal into a security rather than the uncertainty of new countries, new losses, a new home. Maybe in those spaces created by fear is where unhousedness began, because security is a delusion we need to rest in.  The beginning lines of a tragedy. But a great awakening is at the bottom of a tragic flaw. Tragedy reminds us of our human dignity, opening us up to all possibilities, whereas fear has us only hear what we don’t want.

In southern China where my grandmother is from, more people have left than live there today. Thousands of years ago, her earliest Han ancestors brought their family bones when they migrated from the north to the south. Still now they practice a second burial tradition, where years after the first funeral, bones are cleaned and moved to an ancestral tomb. During the first waves of overseas immigration, arduous arrangements were made for those who died abroad to have their bones returned to their ancestral villages, tens of thousands of bone boxes crossing oceans and borders. But then history changed and almost all of the bones don’t come back anymore. Some I visited are stuck in transit and have been for a hundred years. The odds they will go back to their ancestral homes are near-impossible, but they are a living-dead memorial that continues to cry out for all of us, I want to go home.

IMG_9786

(Bone boxes in Tung Wah Coffin Home, Hong Kong, awaiting repatriation.)

So I can forgive those who won’t go, won’t listen, whether they immigrate or not. They don’t go, because maybe the risk is just too much unknown, too much disappointment, the fear that some pain is bigger than us. The greater the connection, the greater the vulnerability when it becomes absent. When I think of moments when I didn’t think I would survive, I remember the scary way my son was brought into the world, when I wanted to be nowhere near what I was experiencing. After losing a lot of blood, I asked my mom to not let me cross over. I discovered then that the over there is so close. Even though I bore it, it was too much to bear.

An angel appeared soon after and spent time with me.

I expected she would say, oh stop, you weren’t even close to going over.

Instead she said, you were close to there, and you could have gone over. But, she added, I know you would have returned. It wasn’t your time. And it shifted something and the nightmares ended, but I understood. We all have our mundane annunciations.

“The wisdom of love is that it isn’t always safe but it is always truthful.”

All of them, alive or in bone boxes, are telling me stories of un-home and home, and underwriting my own restless search for one. Home is certainly not in these small houses of cautionary being, toppled by each new intrusion of life. If so, my sons would not be here. I wouldn’t be here either, along with all the moments when immense gratitude and beauty overwhelmed me. Home seems to transmute from the relentless feeling of loneliness and displacement. Nathan said maybe we hover home, and reminded me that home, if it exists, enters only in the here and now and leaves. And it does seem to be a here of reception and not fear, even if the guest turns despotic or worse. “But without the gamble on welcome, no door can be opened when freedom knocks.”

Who knows what I will hear next.

In leaving China back to my temporary un-home, I followed her original route over an uncertain ocean. And I could imagine their bone boxes passing, going the other way. They pass by me, holding things I realized I had also lost, maybe continually losing as I keep living, and they are returning to the spaces I just left.

The same man who taught me most directly about tragedy, and therefore the beautiful fragility of presence, gave me a life-long address for this route: In welcoming a guest, you have found your home.

“Such a caring for death, an awakening that keeps vigil over death, a conscience that looks death in the face, is another name for freedom.” — Derrida

IMG_9503.jpg

Dai Wan Village cemetery, Toisan.

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

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