Poetry Challenge 5

January 30, 2009

This comes from a Creative Movement exercise today at the Effie Kokrine Science and Creative Expression class with Ruth Merriman from North Star Ballet. 

Negative space:

In art, this involves drawing what’s around the object, rather than the object itself; in dance, it’s using the shape of the space made by the movement or gesture of the body; in a poem, it’s writing about everything but the thing you’re focusing on–the objects, background, shadow, sounds, smells, textures, rather than the thing itself.  For examples see Gertrude Stein’s Tender Buttons.

So, choose an object.  Write about what’s all around the object or what it displaces.   Don’t mention the object.

Feb 3–

Here’s the poem I wrote today while working with the kids (we selected objects from a bag; mine was a horse bit):

Light glints on metal:
a bridge, a curve,
a circle of cold.
No leather attaches
but the soft gums
in the mare’s mouth
remember it even now.

The air chills
to its chill, light
bends to it;
a horse’s neck arches
and turns. Weight
and firm touch,
a bitter taste:
pennies, nickels
turned in the mouth,
a hard pebble
through which we
speak, then
trot on.

—————————-

Glow sent this:

 

Once,
making love under a ceiling fan,
my Beloved asked,
“what is that sound?”
A rattle, a misplaced hum,
a rasping breath,
an uneven gasp.
On the bed in the corner,
orange as a persimmon,
lay purring contentment.
Not a loose bearing after all.

View from Mattie’s Pillow

January 30, 2009

About dogs-for Glow:

The cold weather we dreaded hasn’t materialized. Tonight, when I went out to feed the horses, snow fell in fine white flakes through the floodlight on the peak of our house. Sam had a thick fleece of it along his back. Mattie, who had been in the shed, had a light powdered sugaring along her back and rump. The dog dashed around in the soft new snow, kicking it up behind him, rolling in it, nesting down, watching me cut open a new hay bale, waiting to see if I would feint his way so he could leap up and dash around me in long loops.

The dog is a young, nearly year old Standard Poodle pup. It surprises people who know me to learn that this is the new dog in my life. The dog before him, Kermit, my companion for 16 years was a mixture of three breeds: Shepherd, Corgi, and Lab–all big body, big bark, short legs. He had a talent for shedding on three twice-a-year cycles, one for each breed. He was hard headed, but my dog to the core. He had claimed me at the shelter when I wandered in full of skepticism to look for a dog. I was about to walk out when I saw a yellow dog in a pen, looking at me with recognition and urgency. I asked to see him; my guard was up. Then I felt his ears, the softest fur I had ever touched. I came back for him the next day and spent sixteen years trying to discern what that look was telling me.

I don’t know how to write about dogs the way I do about horses though dogs seem essential to a good life. Without one, there’s an empty space in the house, and it’s hard to know when strangers or anyone else drives up to the house without the barking. Dog training is a precise but playful activity, not edged with danger like horse training. A dog is an animal of manageable size: a head on the lap, a paw in the hand, a quick jog side by side–none of this is easy with a horse.

Tonight I took the poodle, Jeter, to get the last of a round of shots. He was ecstatic to go to the vet and, when I dropped the leash, ran from the car all the way up the stairs and sat waiting eagerly at the door of the vet’s office. He’s a shaggy mound of brown fur, still in his puppy cut, and he wiggled from tail to head as he greeted the attendants in the clinic. He has a habit of standing on his hind feet to hug people he hasn’t seen for a while (even if it’s me coming back from feeding horses), so he embraced all the humans in the clinic. There’s a toy poodle in the clinic, left there by former owners, now the clinic dog–a distant cousin, the size he was when he first came home with us. Jeter sniffed this dog then play-bowed to it hoping for a romp. She sniffed at him, then ducked under a chair.

When I posted the excerpt from the horse book yesterday, I wrote that dogs lie–that was Kermit, who never felt that he had been fed recently enough or been out on enough walks. But this young dog is eager, straightforward, gentle, earnest. Kermit always seemed ready to pick up a conversation left over from some previous life, as if he had been dropped suddenly into a dog’s body and wanted anyone who would pay attention to know about it. Jeter seems to love to be a dog and to bring us with him into a world of play: flying snow, wayward sticks, a game of tug now and then, and long walks. And he’s been running up on the hill where Kermit’s grave is, where the irises and delphiniums will blossom in the summer. Maybe he knows more than he lets on.

And the Horse (Excerpts from a work in progress)

January 28, 2009

The Beauties of the Animal Body

 Dogs lie–as any one who has fed a dog knows first hand. A dog will tell you he hasn’t eaten in weeks, that he didn’t hear you calling while he chased a car, that he’ll just die if you don’t scratch his ears right now. But look at a horse: that large body nearly ten times the size of ours, the eyes clear as glass at the corners of the head, the ears pointed up if he’s interested, pinned back if the situation’s not to be trusted. That body–all muscle, bone, and hoof–can move in an instant, bolting in fear or softening in trust. A horse doesn’t lie, though we may not know what he’s responding to, and, if you spend enough time around a horse, you begin to value his honesty in a complex and hard-to-predict world.

But if it were just that–cats don’t lie either, though interpreting their truth is another matter–it wouldn’t explain the power of the horse over our imagination. Is it the strength? A horse, after all, concedes to carry us on its back and more, to enter with us into the hopeful endeavor of training: to race other horses, or jump fences, or cut and rope cattle, or meander along a quiet road heading nowhere in particular. We ride other animals, elephants, for instance, but do they participate in our dreams for them?

The shape of the horse shapes our dreams of it. Those who breed horses pay attention to subtle shadings of conformation: the arch of neck, the set of the tail on the rump, the length of bone below the knee. Any horse-crazy child can tell you the difference between a Morgan and a Thoroughbred and a Quarter horse, though to a non-horse person, these are differences that seem insignificant–the subtle widening of the neck into the shoulder, a vertebra’s difference in the length of a back, the proportion of upper to lower leg. No one argues the existence of dog breeds. A poodle and a Corgi are recognizably different, for instance, and mutts come in such a variety that each one seems unique, even to the unattached.

But horses: it’s the body. Over the years, breeders have shaped the horse’s body to do what we need it to do, creating for us the knife-sleek body of the Thoroughbred or the bulked-up body of the Belgian or the flashy curves and gaits of the Morgan and its descendants: the Saddlebred and the Tennessee Walking Horse. To a horse person, these names evoke images of the shape of the horse, but that shape can’t be separated from action, so that breeds of horses are depicted in motion and recognized by that motion.

Then there are the color breeds: the Appaloosa with its white “blanket” and spots, the paint with its flashy white splotches and blue eyes, the palomino’s gold coat and creamy mane, the black, the gray, the “cremora”–in any breed. But breeding for color distracts us from what a true horse person loves about the horse–the way he uses his body and the way that motion fits with what we dream of doing.

Poetry Challenge 4

January 27, 2009

Opposites.  Think of opposite pairs: Snow/rain; owls/voles; moonlight/sunlight; blue/orange–pick your own set.  Write aobut what they have in common using everyday objects or observations.  Post your poem here!

Here’s a response from Glow at Beyond Ester:

old dog
grinning through teeth worn to the gums
by thousands of frisbees
grizzled muzzle shines silver
groans as she rises with glee
to walk with her beloved Ones

young dog
snarking at the cats and our coat tails
shiny sharp shark teeth
muzzle smooth as dark chocolate
lunges at the door beyond happiness
to prance among her beloved Ones

———

This is a bit like cheating, but here’s a poem I wrote in summer in response to this prompt:

Plants Retake the Sidewalk

Chamomile,

leaves bunched and feathery

as carrot leaves, the tight

knob of yellow center

the sweet bitter taste

that soothes the tongue,

edges up through the crack

of sidewalk, dusty,

a bit the worse for wear,

dodging flipflops,

sandals. Each plant boosts

small suns, reaching

towards the brilliant

sky. Defy

hard edges, find moisture

in dryness, head out-

dream through what seems

no dream. This hard

world. Some

sweetness.

View from Mattie’s Pillow

January 23, 2009

Last night, a visit from my friend Joe Enzweiler (see the link to his website) to talk about poetry, life, and the writer’s discipline. Joe recently had a poem read on Garrison Keillor’s Writer’s Almanac and we talked about how this might affect his work. Joe is a cabin-dwelling poet, not quite off the grid. He lives in a spruce log cabin he built himself 30 years ago, tucked away in a stand of birches. He has a rotary phone and a manual typewriter, though he was recently given a laptop and has become curious about the internet. But mostly he’s a pen-and-paper writer.

I’ve known Joe since I arrived in Fairbanks from the Pacific Northwest in the late seventies. I joined a writer’s workshop at the university, all young hotshots with big ideas and some gift with language. Joe and I have stayed friends since then, and he has dedicated himself to the writer’s life more profoundly than anyone I know who doesn’t have a university writing program job. Every morning, he rises with the sun (around 10 am, these days) makes tea, and sits by the window and writes. His Manx cat, Little Man hops on his lap to watch the redpolls and chickadees feed outside the window. He gets up from time to time to stoke the wood stove, his main source of heat. At some point, he leaves the house and takes his bow saw and clears small trees from the woods around his house. He cuts the wood into fireplace lengths and hauls it back to his house where he stacks it under his porch. All around the house there’s a mosaic of alder, spruce, birch, and willow stacked with the round ends out. Small wood, but good kindling and plenty to keep him warm and writing all winter.

In the summer, Joe builds things–decks, saunas, sheds, fences–as meticulously as he stacks wood or crafts poems. He loves to stack stone and has built stone walls for his brother in Kentucky and for many friends here.

In the winter we meet for Poetry Thursdays. They keep me focused on the task at hand and give him an audience for his current projects. He’s agreed to let me post a poem on the Poem of the Day page.

And the Horse (excerpts from a work in progress)

January 23, 2009

Fear and the Horse

To learn about horses is to learn about what we fear and how much fear we can embrace. Think of it–a half-ton of muscle and bone, in personality more like a deer than a dog–and we propose to walk beside it or sit on its back. In the wild, a horse, by all rights, should fear us and we should fear it, too.

And many do. When strangers approach Mattie, I can see the level of their fear. They step back when she reaches her large head forward to sniff their scent. They are awed by her sixteen-hand size, her black coat, her noises. The image of the horse is one of compliance, grace, speed. The reality is an animal only partly tame–like a cat in some ways–whose psychology somehow allows us to work with it to form a braver more powerful team than either would be alone.

Because horses have such good memories, they remember things they fear for life. Horse people tell stories of the horse afraid of men in cowboy hats or of lawn chairs or of anything blowing along the ground. One of the puzzles of working with a new horse, especially one that has an unknown past, is to discover what it fears and to find a way to comfort it with the presence of the rider or handler. This is more easily written than done. A dog trainer once told me that it takes twenty-five repetitions for a dog to develop a learned habit–for that’s what training is–and fifty to seventy-five for a horse. A horse who is truly fearful can be in retraining for years. And all it takes is one bad experience to set it back into fear again, for the memory of fear is stronger than all that training.

View from Mattie’s Pillow

January 21, 2009

Temperatures dropping again. It’s a challenge to keep the horses comfortable with such radical fluctuations–from 50 below to 50 above last week; now back around zero and dropping to 20 below by the weekend. I blanket them with heavyweight blankets when the temperatures head to 30 below, trying to time it so that I do it before the temperature point where my fingers get too cold to manipulate the buckles but not before the blankets would keep their thick coats from doing the job they do so well.

Yesterday, Sam, the watch horse who insists in standing out of the run-in shed in any weather, was shivering when I went to feed him in the morning. He had stood out in the snowfall the day before and had had small drifts of it on his back, which turned to glaciers, stuck to his thick coat. If he were willing to spend time in the shed, like Mattie does, the ice would have never formed or would have melted and dried. But there he stood, coat thick with ice, some of it melted and wet to his skin.

I blanketed him with a fleece blanket liner to wick the melting ice away, and he looked happier. I saw him later, standing with his head over the fence, looking for dog walkers on the road below the corral, the blue fleece on his back frosty from where he had rolled and from the moisture wicking out of his coat. I took it off later in the day to keep his coat from packing down and making him colder and found that the ice had melted off his back and reformed down along his belly. I thought of putting a quilted blanket on him, but his back was dry and I knew that, if our temperatures really drop, I’d need to keep that blanket in reserve.

Today, his coat is dry. The sun is a little brighter than yesterday as it makes its slow progress back up our northern sky. Mattie stands sideways to it, soaking in what heat she can with her black coat. Sam, a white horse in the snow, is back at the fence, moving a little at a time to stand in a triangle of light, moving as it moves.

Dancing in the North

January 21, 2009

(I’m going to branch out in the weeks to come and write some short pieces on life around the North Star Ballet studio as the kids prepare for this year’s ambitious performance of Firebird.)

Finally, after a long break for the holidays and the deep cold followed by a thaw and black ice, I made it back to ballet class last night. For years now, my weeks have been bracketed by Sue Perry’s adult ballet classes–Tuesday and Wednesday nights. In the closed world of the studio, we relive our past dreams of dancing. Some of us have danced on stage; some have never had a dance class before we walked through the door. But in class, we are moving toward a mutual goal–to become that ideal of lightness and grace that we imagine dance to be, to defeat gravity where it overtakes our bodies first–arms, legs, back, bellies.

I had been dancing for some time before I met Sue, but I started as an adult and adults progress through the forms of ballet at a different rate than children do. My son and I started together, me at 34, he at 5. Now, he is a free-lance dancer who has performed in four countries; I’m a permanent adult intermediate dancer. When I walked into Sue’s class, it was as if I had started over as she systematically took me back to the good habits I should have developed in the first place. Sue, however, treats each adult as if her or his potential is unlimited and as if whatever level we ultimately reach is a level worth reaching and worth working hard for.

Last night, I noticed how my right and left arm move differently. I was dancing at the front of the class and watching my port de bras in the mirror when I realized that my left arm–my writing arm–moved back down through the arc of the movement faster than my right one, which stayed floating longer. Try as I might, I couldn’t get them to move at the same rate and still concentrate on the echappes that we were doing. I realized that this is also a problem for me in riding: one side of my body reacts faster than the other; one side stays in balance better than the other and it makes the horse move stiffly to balance me out.

It’s like this blog–to me, all the things I’ve listed in the heading are connected, and each is an art in itself. As I read around the blogosphere, I notice others working on the interrelation of the arts–and we each have a different set of arts to interrelate. More on this in the days to come.

View from Mattie’s Pillow

January 20, 2009

This morning we fed the horses in the dark, as usual, then made coffee and scones and watched the Inauguration. Our friend John came over and we made an event of it–gathering at 7:30am, sleepy still, but sweetened by honey-buttered scones and the joy of the crowd on the screen. After the speech and the hoopla–and after Bush’s helicopter took off for the last time from the White House lawn, we sat and talked and sipped warm coffee as the windows gradually lightened. My son, the dancer, called from New York; I’ll call my brother later today. Now the sun is up above the edge of the ridge; the fresh snow glows with creamy light; everything sparkles and seems new.

We talked about the dark of the year and how it affects us. John is here for his first winter and he’s feeling a bit ragged and sluggish. We assured him that this is part of winter in the far north: the dark and cold settle in together, our blood thickens, we go into a kind of mental hibernation even though we go about the motions of daily life. The difficult time comes when the light begins to return and our energy builds, but the snow is still thickly spread across the ground, the ground itself frozen solid, the deep cold still possible for months to come. It’s friendship that brings us through. When despair creeps into our hearts, a conversation or a good laugh can stave it off for a while. Or it’s our animals. When I need grounding, I go out to the corral and brush Mattie or detangle Sam’s mane–even when it’s too cold to stay out long or too slick to longe or ride.

Still, in the light shining now across the corral–the horses standing still and sideways to it, absorbing every ray they can, storing up energy for the rest of the sunless day-I can feel my own reserve of energy, hope, optimism replenishing.

View from Mattie’s Pillow

January 18, 2009

More news from the psyche.

Still warm, by Alaskan standards. For a few days, temperatures lifted to around fifty above–for some, a hundred-degree rise in two days. Walking across campus, I felt a puff of warm breeze on my face–unfamiliar breeze, unfamiliar warmth. The lightness this brings to everyone’s mood is remarkable. How can temperature alone make such a difference in all the little troubles we carry? Yet, shedding coats, hats, mittens, even for a few days, we move more fluidly in the world, and spring seems possible.

By today, light snow, and temperatures back below freezing, but still warm, for us. As I write this, I’m thinking of the people gathering on the Mall in Washington, DC, and the change of mood and energy so many of us feel at the approach of Inauguration Day. While it’s not my intention to make this a political blog–there are too many good ones already (see Mudflats in the Blogroll for an Alaskan example)–the changing weather here seems to parallel a change of what? Mood? Politics? National intent?

It’s been a long dark journey through a kind of national despair for the past eight years, when the public dialogue has been driven by fear and impulse rather than reflection and reason. Horses can be made dangerous and frightening by humans who react around them out of fear–perhaps that’s also true of a nation. And horses can be calmed and rehabilitated by a calmer, reasonable presence. Perhaps we all long for that, as well. It’s a lot to place on one human being, to calm and redirect the restless herd of our national psyche, but, as I’ve said to friends here, an election isn’t about one person, it’s about us and who we want ourselves collectively to be. So, as light progresses here, we’ll watch to see how light can be progressively shed on us all with the turn of the political season. I wish for Obama all the best tools of horse and dog training: to be calm, attentive, clear-headed, non-reactive, and to lead by reward and praise rather than by punishment and fear.