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Poetry, by Pablo Neruda

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Pablo Neruda (1904-1973) has been one of my top five or so poets for inspiration since I discovered poetry and began writing in college classes in the early 1990s. He had an illustrious career, and is considered by some to be the greatest poet in the Spanish language. He is famous for being a very active Communist politician with a turbulent history in his country, Chile. Near the end of his life he won the Nobel prize for literature, in 1971. (He deserves much more than I am summarizing here, and you can read more at the Poetry Foundation.) I know him best for his odes to ordinary things (which inspired me to write an ode to quinoa here and garlic here) and his sensual love poems. There is a sweet film called "Il Postino" in which an exiled Neruda and his love poems help a humble Postman woo the lovely Beatrice. One of my favorites of his love poems is Body of a Woman.

In the poem I post here, Neruda describes not his love for a woman, but for Poetry, when she arrived. For me it felt just like this when I began that first poetry class, and started to write. The universe opened, and the poet began the first faint line, / faint, without substance, pure / nonsense, / pure wisdom / of someone who knows nothing . . .

Poetry
by Pablo Neruda

And it was at that age ... Poetry arrived
in search of me. I don't know, I don't know where
it came from, from winter or a river.
I don't know how or when,
no they were not voices, they were not
words, nor silence,
but from a street I was summoned,
from the branches of night,
abruptly from the others,
among violent fires
or returning alone,
there I was without a face
and it touched me.

I did not know what to say, my mouth
had no way
with names,
my eyes were blind,
and something started in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire,
and I wrote the first faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing,
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating plantations,
shadow perforated,
riddled
with arrows, fire and flowers,
the winding night, the universe.

And I, infinitesimal being,
drunk with the great starry
void,
likeness, image of
mystery,
felt myself a pure part
of the abyss,
I wheeled with the stars,
my heart broke loose on the wind.
(translated by Alistair Reid)



La poesía
de Pablo Neruda

Y FUE a esa edad... Llegó la poesía
a buscarme. No sé, no sé de dónde
salió, de invierno o río.
No sé cómo ni cuándo,
no, no eran voces, no eran
palabras, ni silencio,
pero desde una calle me llamaba,
desde las ramas de la noche,
de pronto entre los otros,
entre fuegos violentos
o regresando solo,
allí estaba sin rostro
y me tocaba.

Yo no sabía qué decir, mi boca
no sabía
nombrar,
mis ojos eran ciegos,
y algo golpeaba en mi alma,
fiebre o alas perdidas,
y me fui haciendo solo,
descifrando
aquella quemadura,
y escribí la primera línea vaga,
vaga, sin cuerpo, pura
tontería,
pura sabiduría
del que no sabe nada,
y vi de pronto
el cielo
desgranado
y abierto,
planetas,
plantaciones palpitantes,
la sombra perforada,
acribillada
por flechas, fuego y flores,
la noche arrolladora, el universo.

Y yo, mínimo ser,
ebrio del gran vacío
constelado,
a semejanza, a imagen
del misterio,
me sentí parte pura
del abismo,
rodé con las estrellas,
mi corazón se desató en el viento.



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Neruda was much loved in Peru, and to keep you warm after snuggling with Pablo, I give you Afro-Peruvian singer Susana Baca singing De Los Amores (About Love); lyrics here, and no, the lyrics were not written by Neruda, but by Javier Lazo (who wrote the music too, I think).






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Fit for the Kingdom

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Fit for the Kingdom

Just
when I am awestruck by diamonds
    on the upstanding collars of Queen Anne’s court
       each with her crown of snow

pausing

while my tinkering mind
   shuffles and sorts through word files
      for just the right writing currency

the dog

charges past on the meadow path
   rocking me like a semi on the Interstate
      and I stand, shaken, the writing spoor erased from my head

and again

farther on into the pines where she sniffs
   the pellets and wrinkled white beds of deer
      we scare up a wild turkey hidden in the boughs

above

and down upon us snow crystals
   spray like sparks from the explosion
      of her dusting thundering wings, and suddenly

awake

and empty of words, I walk on behind m'lady
    in our morning processional through the Queen’s chamber
      freshly and properly christened with a mantle of silence





Listen to a podcast of this poem here.


 This is Ara, the dog companion of my son's girlfriend, my new sometimes walking buddy.
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So what?

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-Luxembourg Garden's Medici Fountain in May 2006
with face sculpture by Swedish artist Lotta Hannerz;
read my Paris Deconstructed blog post 
about being a woman alone in Paris that day here



Isn't this woman utterly amazing? All she does is breathe. I truly love and admire her. What a meditation she is. "So what?" she seems to whisper-breathe. "I am in Paris, in the Luxembourg Gardens Medici Fountain, commissioned by Catherine de Medici . . . but . . . So what?"

The question So what? was a weed of rudeness in the field of my life growing up, a thistle you didn't want to touch, best to leave it alone to grow by itself, prickly and ugly. Mouths got slapped for saying such things. I didn't even think it, because it stood up and declared persistent insolence, superiority, rebellion, put-down. These were not in my floral repertoire.

Fast forward to the year of the door into freedom -- Paris 1997 when I'm 40 (nine years before these photos).

Two things.

One. I found thistle weeds in the luxurious flower beds of the Luxembourg Gardens. Was there some mistake? Thistles -- weeds -- in one of the grands jardins of the most elegant city in the world. But there was no mistake, they had been planned and planted. Tall, regal purple Scottish thistles were designed among snapdragons and I don't remember what else. I stood there dumbfounded, trying to comprehend many things at once: How did a garden designer understand how beautiful they are, and worthy of formal beds? How had I scorned them? Why do things in Paris look so frickin' beautiful? They're weeds! for heaven's sake . . . and then from the splashing water of the Medici fountain under the plane trees I seemed to hear someone whisper: Et alors? So what?

Two. I went to a jazz club called Petit Journal with my sister, across Boulevard Saint-Michel from the Luxembourg Gardens. It was my first time sitting for a prolonged mutual welcome of jazz. Our mother was freshly gone two months before, she who left behind New York jazz for a life of church music in the Midwest. Now with my sister in Paris: a door, a spiral stair down to a tiny, wall-lit, cave-like cellar. A female vocalist just on the other side of that table, no stage, who looks like Dianne Wiest with a voice like Etta James'. A quartet packed tight, playing loose -- bass, piano, drums, horn. Hours of So what interpretations of standards, and a little improvisation.

Today, almost fourteen years later, I'm still a baby in jazz, listening to Miles Davis and John Coltrane play So What. But all these years since the freedom door, I've been practicing (as in, practicing to get better at it) So what. What does that statement (more than a question) mean to me, now? It means letting go, like thistles that let wind carry away their down. It means being unbounded by clocks, ought-tos, appearances, fears, expectations, shame, regret, jealousy, tidiness, judgment, offense, binary choices (and lists!). It means seeing beauty in the of-course lovely, and also in the untamed, thorny, worn, shabby, discarded, muddy, unknown and mixed-up ordinary-sometimes-even-ugly beautiful. I probably still wouldn't say So What? to anyone out loud, because spoken it just sounds bratty. But I say it to myself, and to Inge, when we get too serious and need to lighten up!

Et alors? So what?

How about by way of reply, a 1959 live recording in New York of a jazz musician who loved Paris and felt more welcome there as a black performer than in his own backyard -- Miles Davis, with John Coltrane in a gorgeous, untamed but highly cultivated field of So What? (Great article about Miles and his long love affair with Paris here.) Listen, view the video (also with members of the Gil Evans orchestra and Jimmy Cobb on drums) at full resolution, and feel the heart in Miles' eyes. Then, at about minute 4:29, when Miles and Trane (don't I sound hip, baby?) start blowing So what behind Wynton Kelly's piano playing, see if your fetters haven't come untied.

The video is followed by more photographs of the Luxembourg Gardens in Paris, from my solo trip in 2006, not the year of the thistles, for sadly, I have no photos of those. But really, So what?

Newsflash: I need orange has offered her beautiful thistle photo, from the Luxembourg Gardens!







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-Does the chap in glasses not look like he is saying, "Et Alors . . ." ?
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Undiscovered Country

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View of Ischia from the Sea, Charles Rémond, 1842
Oil on paper, laid down on canvas
Metropolitan Museum of Art, New York

WHAT nostalgia to recall the delights of travel before jets were invented! You did not then swoop down out of the stratosphere; you came to the Old World majestically on a fifty-thousand-ton steamship a quarter of a mile long. The coast of Europe presented itself gently to the senses – visually, as a band of green low on the horizon; then orally as you came close enough to hear dockside voices singing out over the water; and finally, as you walked down the gang-plank, you smelled the stacked cargos – cheeses and wines, fruits and legumes, with the scent of the land itself behind the odors of its exports. It was apple-blossom time in Normandy when we debarked in Le Havre. . . .

Thus begins Chapter Three of Kathryn Hulme’s book Undiscovered Country (the inner life, not a geographical place, though the passage quoted here is geographical), about her time spent with mystic G.I. Gurdjieff in the 1920s and 30s.

I long for what she describes of her slow travels almost as much as I long for the undiscovered country of the soul. To trade an airtight airplane cabin for an open sea. To wake up morning after morning with light through a porthole, tugging me out for a sustained, solitary stroll on the deck’s weather-worn teak, rather than arrive at my foreign destination within seven hours of departing, mercilessly without a wink of sleep. To feel the distance -- in the passage of time, change of weather, sunsets, stars rotating in the dark night; gentle sea, rough sea. Gulls. To write, with elbow room. Empty time. To read with the sound of wind and the feel of it urging open the next page. To approach the port destination with honest respect, quietly, without the siren-boom of jet engines. To walk out onto the quay where to walk is to mingle with workers of the city, rather than in interminable terminal tunnels of metal, glass and overused and filtered air, then emerging for fifteen feet in the fumes of a taxi stand and into a taxi. Like this! to meet a new place! And lest I over-romanticize the welcoming port: to smell the diesel with the crated fruits, the fermented garbage with the salty sea, the body odor from a wool sweater worn as long as my passage by a man who tosses a welcome while he pitches another crate onto the truck.

I have a sea inside that is populated with slow travel. It is undiscovered in factual, physical experience. But I can explore it in my mind through reading, writing, imagining.

I have read and imagined with my friend Vagabonde, who has journeyed on slow ships since a child, and she still does. I hope she doesn't mind if I invite you to embark with her on her love affair with the sea. If you are like me, January is a good time to be off on a good adventure, at the very least someone else's! Read here to begin a three part series of sea travel and beauty. As a child she sailed from her native France to Istanbul, where I lived in the late 1980s and smelled fish in baskets, felt the mighty wind and heard men yelling Simit! on the quays, when we embarked and debarked from ferries crossing the Bosphorus.

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Fishing on the Bosphorus Painting by Charalampos Laskaris
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Garden of Grief

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"Night on the El Train," by Edward Hopper


Garden of Grief

Listening to you
describe your garden

is like listening
to the thrumming wings of a hummingbird

    arcing backward
or forward
       whirring side-
    to-side

whisper-droning a puff of air against my cheek
as you rocket past
to the bee balm

where you suddenly stop and hover in place, steadily
so you can eat the fire
flower by flower

Next, you linger
intent before the faded
damask rose

where no nectar
rewards your lapping tongue

and summoning your last day’s effort
you vault up to the power line
tiny on the perch

to sleep in jeweled torpor
plummeting

into dreams
of a different

garden





-Listen to a podcast of this poem here.
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The Interior Castle: Chagall, Rilke & a new Rilke Blog

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Segment 1 of "America Windows" by Marc Chagall, Art Institute of Chicago

In this late afternoon blue winter light, as the window of one year is being shuttered and a new one about to be opened with the flare of a candle, thoughts about an artist and a poet are synchronizing in me.

Segment 2 of "America Windows" by Marc Chagall, Art Institute of Chicago

Wednesday I had the mighty joy of standing in the radiance of Marc Chagall’s stained glass "America Windows" at the Art Institute of Chicago, which he created expressly for the museum out of appreciation. Newly cleaned and returned to the Art Institute in its new modern wing, Chagall’s blues, reds, yellows and pink are as resplendent as they must have been when he completed them in 1977. (If you are interested in learning more about the windows and how Chagall created them out of gratitude for the Art Institute's dedication of a gallery to him, go here; if you ever make it to the Midwest, I feel a trip to the Art Institute is worthwhile for these windows alone.)


Segment 3 of "America Windows" by Marc Chagall, Art Institute of Chicago

"America Windows" by Marc Chagall, Art Institute of Chicago 
(this photo from The History Blog)

As you may have noticed I have been posting a lot of poems by German poet Rainer Maria Rilke these last few months. His focus on the inner landscape is right up my alley, and with every new poem I read, my heart expands a bit more.

What came together for me as Don and I walked the streets of Chicago were the parallels between Marc Chagall and Rainer Maria Rilke. For both men, Russia is incredibly important. Chagall was born there (in Vitebsk, Belarus, in 1887 – he died in 1985), and Rilke (born in Prague in 1875, and died December 29 in 1926 in Switzerland) spent many months there with his dear friend Lou Andreas-Salomé. For Chagall, though he left Vitebsk for Paris and other parts of the world for good when he was 36, Russia remained his soul’s home throughout his 97 years of life. For Rilke, after just a few months in Russia, he claimed it as his heartland and felt that no people understood spirituality more than the Russians. Both men lived through World War I and struggled to make sense of a world in which such a war could happen. Both men migrated to Paris and found intense inspiration from artists there. For both of them, angels populate their work. Chagall’s windows and paintings are sprinkled with angels flying in the skies. For ten years Rilke wrote the Duino Elegies, of which angels are a central theme.

What most impresses me in connecting Chagall and Rilke is how they carried the world consciously in their souls. Chagall left his hometown of Vitebsk, but it was so dear to him that he kept painting it in signs and symbols in many of his paintings, often with his beloved wife Bella as a personal representation of Russia, his soul’s home. Rilke too transformed the stuff of life – things -- into inner material that could remain with him always. And always he was trying to reconcile the true and even dark facts of the world into a harmony of the soul. You can see what I mean in the poem of his I’m posting, below.

In the mind-boggling and cumbersome intensity of the world’s problems bending the corner with us into the new year, I am inspired by these two who continually processed and transformed the facts of the world into the truth of the soul, where our response to the world is what matters. Through creative expressions, we can love this place of ours.

Out of the deep admiration that my friend Lorenzo of The Alchemist’s Pillow and I feel for Rilke’s poetry, and because there is a new volume of daily readings titled A Year with Rilke (translated and edited by Joanna Macy and Anita Barrows), we are launching a new blog containing these daily passages, much like my blog RUMI DAYS, which shares readings from another HarperOne publication, A Year With Rumi. Our blog A Year With Rilke will offer passages of letters, prose and poems of Rainer Maria Rilke exactly as published in that book, except that we will add images to the readings. The blog is live, and daily postings will begin January 1. The following poem will be featured at the blog March 18 and expresses what I have shared today.




The Interior Castle
by Rainer Maria Rilke

Nowhere, Beloved, will the world exist, but within us.
Our lives are constant transformations. The external
grows ever smaller. Where a solid house once stood,
now a mental image takes its place,
almost as if it were all in the imagination.
Our era has created vast reservoirs of power,
as formless as the currents of energy they transmit.
Temples are no longer known. In our hearts
these can be secretly saved. Where one survives—
a Thing once prayed to, worshipped, knelt before—
its true nature seems already to have passed
into the Invisible. Many no longer take it for real,
and do not seize the chance to build it
inwardly, and yet more vividly, with all its pillars and statues.
~ from the Seventh Duino Elegy 




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Lake Michigan: lines and curves, with Beat poet William Everson

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I hope you enjoyed a beautiful Christmas and are resting warmly in the afterglow, as I am. Stay snug and comfortable while I share some scenes of winter here.

In our world that is filled with straight and rigid lines constructed by men, it is needful to find balance in the feminine, curving complement of Nature. In their rectangular New York apartment my daughter and her husband grow a pot of basil, its mouth-leaves open to the sun on a wide kitchen windowsill. Nearly all the concrete streets of our towns and cities are softened by trees, their round domes curling up and down curb-shores as if avenues are rivers. Trees grow straight, like roads and buildings, yet they are simultaneously round in girth and leaves.

Nowhere could the contrast between Man’s straight architecture and Nature’s roundness be more evident than at Lake Michigan a week ago. I walked the woods and beaches of Grand Haven and Hoffmaster, up and down hilly dunes that rise like a woman’s hips (and I felt the strain in mine). At Grand Haven (photos below), the yardstick-straight concrete pier with its iron catwalk reaches out into the teal water with a cherry red light tower in the middle and lighthouse keeper’s cottage at the end. The pier withstands violent storms, and sadly people have been swept away while walking there. (I posted photos of a more dramatic winter scene three years ago here.) Even on the man-made pier, Nature festoons circular knobs and curlicues on the steel. Waves curl around metal. Sand, water, wind and freezing temperatures wrinkle and pile circular sculptures on the beach.  I find man-made structures more intriguingly beautiful when Nature has weathered them with her own patina.

There is a poet of the Pacific Northwest who respected Nature and tried to live in its rhythms as much as a person can.  William Everson (1912-1994) spent three lifetimes writing about Nature's seasons and the tension between man and Nature -- three lifetimes because he dramatically changed his circumstances twice, leaving a secular life to become a Dominican monk – “Brother Antoninus” -- and then returning to secular life again. He was haunted by the violence we are susceptible to in the world of Nature, and in our own hearts; he was a conscientious objector in WWII. After becoming a monk and one of the original Renaissance Poets – which came to be known as the Beat poets (he was “the Beat friar”) -- he began the third part of his life when just after taking vows for the priesthood, he publicly read his love poem to a woman “Tendril in the Mesh,” threw off his monk’s robe, and chose Nature's dance with her as his spiritual practice. William Everson, aka Brother Antoninus, was a farmer, a fine-press printer, and the only monk among the Beat poets. Everson’s poems remained often erotic and mystical throughout the phases of his life, including the period in the Dominican order. (He famously and controversially wrote erotic poems about his soul's relationship with God, as shown in Dark god of Eros.) There is a very nice bio of him at the Poetry Foundation site here. A few of Everson's poems that can be found online are here.

I'll post one lovely poem of Everson's.


San Joaquin
by William Everson

This valley after the storms can be beautiful beyond the telling,
Though our city-folk scorn it, cursing heat in the summer and drabness in winter,
And flee it—Yosemite and the sea.
They seek splendor, who would touch them must stun them;
The nerve that is dying needs thunder to rouse it.

I in the vineyard, in green-time and dead-time, come to it dearly,
And take nature neither freaked nor amazing,
But the secret shining, the soft unutterable sundowns;
And love as the leaf does the bough.


Accompanying Lake Michigan photos from last week I'd like to share a further peek into Everson’s mind-heart, from a book transcription of his “meditations” presented in his year-long course on the poet’s call he taught at Kresge College (UCSC) in the 1970s. The book is titled Birth of a Poet, and these quote-meditations are from Chapter two: Identity. At the foundation of my writing life in the early 1990s, this book helped give shape to my own poet identity, as well as my perspective of Nature and its rhythms.

I would be remiss if I did not mention how very present George's images of beauty in unexpected places were in my mind this day at the beach. If you have not yet visited George's blog Transit Notes, I highly recommend it for more along these lines (and curves) of living in rhythm with Nature.
 



“Cyclical time is very jealous of itself. When you enter its world of myth and dream, of ritual and wonder, there is an innate revulsion from the processes of linear time.”




“Often, the most profound signature of cyclical time, the spoken voice, simply won’t communicate into linear pattern of print. . . . The page simply can’t register what the voice is saying.”




“When your whole life is structured around winning and losing as key to identity it becomes, literally, a crucifixion.”





“Emily Dickinson wasn’t mad, because she possessed her vocation. It enabled her to skate on the brink of insanity, yet retain her complete integrity. All the hell the Victorians were trying to deny through the accumulation of wealth, she lived out in her beautifully skeptical intelligence. She took nothing for granted, but possessed the sovereign right to see everything to its essential core.”





“Even after eighteen years in a monastery, I can’t claim to be an angelic man. I don’t have the particular kind of vision called the angelic intelligence. I am a sensual man, and my sensual needs become the law of my being. I live out the physical vibration as the impulse of my life, and through its exercise, rather than its denial, I fulfill what I am. That’s a terrible thing. And a terrible beauty.”



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“All great art is gauged on that dimension, and, setting aside the collective liturgies, and the detachment of contemplation, it is the most direct means we have of bringing us back into harmony. Art is the aperture through which we slip inside the threshold, momentarily at least, to gain a vision of the two points of view as they come together.”




"I am trembling a bit just going through all of this in my head. I'm like an escapee who trembles when he reapproaches the Iron Curtain, with all its barb wire, electrical charges, and hidden explosives. But the Iron Curtain is really only a symbol of that threshold. We must penetrate it in order to obtain our wholeness, our beatitude. You possess both worlds within you, they are each yours by right. You must not let that outside world, with its emphasis on the linear, deny you your deeper self, which is of the cyclical mode. Your course in life must always be to hold both realms in your being. Your vocation is the process by which you bring them together."


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