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Month: September, 2023

the prayer after the fall. . .

my mama and papa, a long long time ago…

it was the call you pray you never, ever get: early morning. “police and paramedics are already there.” little else known.

except that it was my mom. and she’d taken a terrible fall, a nightmare of a fall. police had broken in the front door when they saw her lying, crumpled, unresponsive, at the bottom of the stairs. a spotted trail of blood had followed her down the last eight of 14 stairs, around the landing, and onto the slate floor of the front hall, where it had pooled. 

as the pieces started to fall into place, one theory was replaced by another, and what we knew was that it was a fall from the top of the steep hardwood stairs to the hall down below. she’d been lying there almost 12 hours. 

and i was some 200 miles away, driving 70 miles per hour, suddenly fielding phone calls to and from brothers scattered across the country, detroit, california, maine, and the brother whose car was following the ambulance to the emergency room where so much of our family’s life has unfolded: death, birth, broken arms and legs and umpteen stitches, hours-long surgeries and outpatient, too, along with a few godawful diagnoses.

my mother’s most fervent prayer since a car accident two aprils ago has been “to go home.” and home to my mother is heaven. she desperately doesn’t want to be alive anymore. finds little joy in the everyday. except for the birds. and irish whiskey on the rocks, with plenty of water, at 5 p.m. sharp (or 4 if nobody’s looking). and as she said to me in a whisper from her ICU bedside the other day, “to be honest, i wish i’d gone” (meaning not waken up after the fall). “but not that way, i guess” (meaning not alone, in the dark, at the bottom of the stairs, when she thought she’d been headed into the shower, to climb into bed, for another restless night of not much sleeping). 

my mother, who is as pragmatic and plainspoken as the day is long, wasted little time in realizing “i might never be allowed to live alone again.” a dawning followed quickly by “can you take me right now to westmoreland,” which is not quite the name of the place where she’s been on a waiting list for independent living since two aprils ago, and at least four times has told them “i’m not ready” when they’ve called her with an available apartment.

she’s still not ready. not really. 

but my mother’s face and scalp and arms and legs are the color of eggplant right now. the bruising so intense it’s long past purple and deep into inky indigo. somewhere between aubergine and midnight. and that’s only what’s broken on the outside. ribs, and vertebrae, and a bone on her face, they’re broken too. 

i was lying in bed the other night, the night before we moved my mother to rehab, tallying the things my mother will miss after 60 years in the house where we all grew up, the house she would not leave because of its tall oaks, and its sunsets out the kitchen window, and the birds and the deer and the pair of ducks who waddled under the fence each and every spring. 

after all these years of knowing ours was the house at the first bend on the winding dead-end street, across from the green pond and the woods where i grew up, across from the country club where my mother for years would strap on skis after any snowfall and glide for miles across snowy greens and tees and sand traps, i am bumping into brain hiccups any time i try to wrap my head around the brand-new notion that 707 will no longer be. or no longer be ours anyway, no longer the polestar to our family chronicles. 

for now, my mother is miles away from that old house. and she’s never going back. says she doesn’t think she could bear to say one last goodbye. so we will shutter it, the five of us who know that house inside and out, who know which upstairs window was the one a brother climbed in one night too late past curfew, the sliding door where another brother was showing off his brand new BB gun and PING! the glass was shattered, the arbor of oaks under which i and my beloved were married. 

this is not the way my mama––or any of us––wanted her story to end. 

but we’ve soldiered on before. she has always taught us how. she’s not one to buckle under. 

she’s been widowed 42 years; buried a husband, and a tiny baby granddaughter atop her husband’s grave; mothered five children, each of whom has had twists and turns and upside downs. she’s had cancers of her own. 

and till now, she has not crumpled. 

even now, her faith has barely flagged. but she looks up at me, through her swollen ink-black eyes, and asks, “barbie, why won’t God take me?” 

and how can i answer that, other than to say, “mama, we don’t know. we just don’t know.”

and so i rub her back where the terrible aching is, and we find her favorite cowboy channel, and i pray and i pray. don’t think me wrong to echo my mama’s prayer. i pray too, dear God, please take her home. she wants so very, very deeply to be there…

i’m transfixed by that photo above. i stare into my mama’s long-ago glimmer. i miss them both, so deeply.

today my only questions are ones without answers…

turn, turn, turn . . .

“Ecclesiastes was onto something,” i wrote, as i dove into a meditation on the notch-by-notch turning of the dial, the dance between heaven and earth that is the shifting of season, as one fugue surrenders to another and another, over and over and over again.

and here we are again, at another cusp. the autumnal equinox. tonight (or, rather, tomorrow morning in the wee wee hours) at 10 minutes to 2 here in the heartland, central time zone.  

in my musing on seasons, in the pages of that latest little book of mine, the book of nature, i prattled on a bit longer. . .

“Each season, in four quarter turns, brings forth its own headlines. There’s the yin and yang of spring, the season of exodus and resurrection, of equal parts heartbreak and magic. ‘The fizz and the roar of the land coming back to life again,’ is how Robert Macfarlane brilliantly captured the vernal animations. There’s summer with its invitation for indolence, for taking it slow, savoring, all but licking your plate of its succulence. And autumn, the season that changes its tense, is letting-go time, the beginning of burrowing in, when the shadow grows longer and sunlight goes amber, when half the globe is stripping to its essence, revealing its unadorned spines. Then there’s winter, the stillest of all, when deep-down stirrings are all but invisible, and we learn to keep faith. Sometimes I think God couldn’t decide which channel was best, so the heavens kept jabbing the clicker. 

“It’s a wonder reel that never ends, yet never truly repeats—a koan for the ages. 

“I often contemplate the geometries of time, how the year is not an inescapable circle, a shape that would get us nowhere, but rather it’s a spiral, and from one winter to the next we’re never the same, always ascending, closer to the holiness we were meant to be—or so that’s the hope and the plan, anyway. Maybe that’s why God keeps this seasonal show on autoplay: maybe God knows how dense we are in the figuring-it-out department, how some of the lessons we need to review. Over and over and over again. Most especially at the fraying hems of the seasons when the doubt begins to creep in, the fear that we’ll never be loosed from whatever it is that tangles and knots us, and God needs to show us those few immutable threads: Resurrection comes. Quiet must follow exuberance. So too dormancy. Surrender to earth’s holy rhythms, the very ones that pull the tides and the flocks, paint the woods, star- stitch the night sky. Expect heartbreak. Await healing. Start all over again. 

“’The seasons are our scripture text,’ writes Celtic spiritualist Christine Valters Paintner. ‘This earth we are riding keeps trying to tell us something with its continuous scripture of leaves,’ echoes William Stafford, a poet and pacifist who referred to himself as ‘one of the quiet of the land.’ To the ancient Celts, the unfolding of the seasons read as ‘gospel without haste.’ And Walt Whitman, America’s latter-day Homer, put something of a military spin to it when he wrote that ‘nature marches in procession, in sections, like the corps of an army.'”

i prattle on a few pages more. but i’m already thinking anew about seasons. life, when we’re paying attention, comes in all sorts of seasons. some, clocked by the sun. some, by the tumults and percolations from deep down in our hearts and our souls.

the season of my soul that i’ve been dwelling in all these past months is one that opened in mystery, back when every day was bringing another scan, another long wait, another doctor’s uncertainty. then, when the surgeon finally extracted the answer, “it’s cancer,” i landed in shock and bewilderment. and ever since i’ve been encountering an underworld, a sometimes murky, sometimes brilliantly glistening world potholed with reams of unanswered questions and populated by fellow travelers who nearly always, uncannily, know just what to say and just what i’m thinking. it’s those fellow travelers who have thrown me life rope after life rope. just when i begin to feel the walls closing in, one of them pings me with hope. or pure simple kindness. or laugh-out-loud irreverence (eileen N i am looking at you!).

one thing i know, which i am going to be thinking about for a long time to come (and trying desperately to put into words), is how love truly is a magnetic force field all its own. i can be teetering at the edge of some quicksand-y bog, and all of a sudden, out of the blue, kindness will come. and kindness, love’s gentle sister, can shatter the darkness to shards. kindness makes you not all alone. kindness holds your hand and squeezes it so tightly it won’t let you dangle. or drop. or run out of air.

just this week, a brilliant brilliant poet friend of mine sent me a note. and it might have been one of the wisest, kindest, gentlest things i’ve read in a long time. he wrote:

“You have spent a lifetime thinking and feeling deeply.  In my experience of living like that, I’ve found that pains are more painful and joys more joyful.  I think it also means that you are better able to face the sort of scary stuff you’re now facing.  I hope that your lifetime of thinking and feeling deeply gives you the strength to deal with this face-to-face…whatever ‘this’ ends up being.”

and so, my prayer as i look to my first post-surgical scan in the weeks just ahead, is that i begin to move now into a season where the edges aren’t so raw, and the fears aren’t quite so suffocating. there is love all around, and i know it will save me. no matter what comes.

tell a story of a kindness that saved you.

the apple slices above, already doused in caramel-y bath, are my sweet line cook’s first attempt at pie baking. his slicing alone impressed the heck out of me. just a month into the job at one of chicago’s finest eateries and the kid is picking up tricks. and pie recipes too. pretty sweet living at our house.

may this autumn, season of awe, of turning in and deepening, enrobe you in the brilliance you reach toward….

and a big giant thank you to each and all of you who have lavished me with kindnesses and love in this long season now turning…

p.s. i’m writing this from a hotel in ohio where tonight, squeaky squawky voice and all, i am getting up to a podium and giving a keynote address on the blessed book of nature…

voila!

let us speak of the awesomeness

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of all the majestic moments in the days to come, the days of awe to come, for this is the cusp of the jewish new year –– the hours when we drop to our knees (figuratively, for there’s not a lot of kneeling in the synagogue) in thanks for all creation, for the newbornness of the world, this world we are entrusted to keep, meaning not to possess but to preserve, to tend, to watch over as a shepherd over his lambs –– one of the moments that will stop time for me is when the chanting of the unetanneh tokef (“let us speak of the awesomeness”) begins. 

its words are as stirring as they come, deep down to the marrow. and they will stir me so deeply this year.

Unetanneh Tokef (ונתנה תקף) (“Let us speak of the awesomeness”) is a piyyut, or Jewish liturgical poem, woven into the hours of prayer of Rosh Hashanah, the new year, and Yom Kippur, the day of atonement to follow. it is chanted just before the Kedushah, the prayer in which the angels sing of the holiness of God, and when the ark that holds the Torah, or sacred scroll, is opened. 

leonard cohen sung from it. in his glorious, goosebumping “who by fire?”** 

it’s a prayer poem in which we stare into the face of our ending, our death, and examine closely the sharp edges of that terrain we so often run from. while it hurls us into attention, a mortal attention that is the base of plenty of theologies (those teachings believe we heighten our game when we’re aware it will end), it doesn’t look only at the last steps, but, too, at the ones we might take as we march there. it’s in the unflinchingness of judaism –– the bracing, no-beating-around-the-bush, straight-on-ness of it –– that so often grabs me by the scruff of the neck and keeps me transfixed. 

and certainly here, and in the hours and days ahead, when we will take public inventory of our sins, when we will stand before a body of water and along with those who stand beside us cast our sins (in the form of bread chunks) into the currents or tide. and when, in the silence of our own pews, we will once again ask these mortal questions. it is the second section of the four-part prayer-poem, the litany of not only death but life, that stirs me most profoundly. 

here are its words (with emphasis on the lines that emphasize living, not dying):

“On Rosh Hashanah will be inscribed and on Yom Kippur will be sealed – how many will pass from the earth and how many will be created; who will live and who will die; who will die after a long life and who before his time; who by water and who by fire, who by sword and who by beast, who by famine and who by thirst, who by upheaval and who by plague, who by strangling and who by stoning. Who will rest and who will wander, who will live in harmony and who will be harried, who will enjoy tranquility and who will suffer, who will be impoverished and who will be enriched, who will be degraded and who will be exalted. But Repentance, Prayer, and Charity mitigate the severity of the Decree.”

one of the prevailing pounding questions of this long hard summer has been my considerable wondering about what lies ahead for me, how many years to love on this world that i love so lavishly. it’s left me breathless, a true foggy night of the soul. and yet, as fall emerges, and the new year begins, so it’s time for me to turn (another command of the days of awe, teshuva, to turn in forgiveness, to repair what we’ve broken) to face the light of the days i won’t –– and can’t –– count. 

it’s a soul-scouring exercise, one that was flung upon me the moment i heard “it’s cancer,” and i’ve taken it to heart. spent more hours than anyone knows contemplating how i will live what remains of my portion. if i emerge living more alive than ever before, if i emerge wildly embracing each and every dawn and the day that follows, if i love as i would be loved, if i take to heart every last prompt to be gentle, to be kind, to forgive as i would be forgiven, then my prayers this year, my Unetennah Tokef, will be answered.

this is a question to be answered in your own silence: how will you live the next holy days of your one blessed life? 

the whole text, for anyone keen to read, broken into four thematic sections:

fear and trembling:

“Let us now relate the power of this day’s holiness, for it is mighty and frightening. On it Your Kingship will be exalted; Your throne will be firmed with kindness and You will sit upon it in truth. It is true that You alone are the One Who judges, proves, knows, and bears witness; Who writes and seals, Who counts and Who calculates. You will remember all that was forgotten. You will open the Book of Remembrances — it will read itself – and each person’s signature is there. And the great shofar will be sounded and a still, thin voice will be heard. Angels will be frenzied, a trembling and terror will seize them — and they will say, ‘Behold, it is the Day of Judgment, to muster the heavenly host for judgment!’ — for even they are not guiltless in Your eyes in judgment.”

God judges us:

“All mankind will pass before You like a flock of sheep. Like a shepherd pasturing his flock, making sheep pass under his staff, so shall You cause to pass, count, calculate, and consider the soul of all the living; and You shall apportion the destinies of all Your creatures and inscribe their verdict.

“On Rosh Hashanah will be inscribed and on Yom Kippur will be sealed – how many will pass from the earth and how many will be created; who will live and who will die; who will die after a long life and who before his time; who by water and who by fire, who by sword and who by beast, who by famine and who by thirst, who by upheaval and who by plague, who by strangling and who by stoning. Who will rest and who will wander, who will live in harmony and who will be harried, who will enjoy tranquility and who will suffer, who will be impoverished and who will be enriched, who will be degraded and who will be exalted. But Repentance, Prayer, and Charity mitigate the severity of the Decree.”

we are helpless:

“For Your Name signifies Your praise: hard to anger and easy to appease, for You do not wish the death of one deserving death, but that he repent from his way and live. Until the day of his death You await him; if he repents You will accept him immediately. It is true that You are their Creator and You know their inclination, for they are flesh and blood. A man’s origin is from dust and his destiny is back to dust, at risk of his life he earns his bread; he is likened to a broken shard, withering grass, a fading flower, a passing shade, a dissipating cloud, a blowing wind, flying dust, and a fleeting dream.”

God is enduring: 

“But You are the King, the Living and Enduring God.

There is no set span to Your years and there is no end to the length of Your days. It is impossible to estimate the angelic chariots of Your glory and it is forbidden to pronounce Your Name. Your Name is worthy of You and You are worthy of Your Name, and You have included Your Name in our name.”

bless you all, profoundly.

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**i tried to post a video, a glorious recording of leonard cohen singing “why by fire?” but the video seemed to be getting in the way of publishing this post, so if you’d love a musical blessing, try googling “who by fire?” by leonard cohen. it’s worth a listen. xoxox



in which we pause to remember one who would bristle at being called the patron saint of anything. . .

She stretches from Sharon Olds’ Stag’s Leap to Christine Valters Paintner’s Dreaming of Stones on my bookshelf. Sixteen volumes in all. And that’s just the poetry. Doesn’t count her essays, housed on a whole other shelf. I am talking, of course, of the poet I call my “patron saint of paying attention.” Mary Oliver. 

You might also say she’s the poet master of astonishment. She breaks me out in goosebumps and wonder. Line after line after line.

Oh, I’ve heard her poetries dismissed for their “surface simplicity and populist reach.” But when it comes to stirring my soul, I’ve no need for the critics. I side with those who, as was written in her New York Times obituary, find that “her poems, which are built of unadorned language and accessible imagery, have a pedagogical, almost homiletic quality.”

I call them holy. 

Give me a writer who can write of the “uncombed morning,” or confess that “sometimes I am that quiet person down on my knees.” Or cobble together words into a stanza that reads: “All things are inventions of holiness / Some more rascally than others.” Give me that writer and I’ll hitch my starship any last day.

These days, this long hard season, I seek saving grace wherever it falls. I find it in an evening’s sky punctuated by dragonflies drifting and darting in parabola. I find it in any sentence that ends “unlikely distant metastasis.” And I most certainly find it in the poet who reminds me: “So quickly, without a moment’s warning, does the miraculous swerve and point to us, demanding that we be its willing servant.” 

Count me willing.

Emily D. taught me to look for and love the slant, the wisdom that slides in on a steep-edged, improbable angle. Mary O does that every time. I am reading of a bluefish being washed at the water’s edge, and suddenly I am remembering to be on the lookout. To find God, the Holy, in all of creation. Or, as Emerson put it: “To attend all the oratorios, the operas, in nature,” in life, in the day upon day. 

Mary O is the one who puts her ink to the sacred as it spills across creation’s page. How else to describe the one who, when writing of a lone seal pup found on a desolate beach, muses: “. . . maybe / our breathing together was some kind of heavenly conversation / in God’s delicate and magnifying language, the one / we don’t dare speak out loud, / not yet.”

Pay attention to how she places that very last line. The barbed last hook. The one that sticks in your craw just a little bit longer. Whispers a gossamer faith. Mary O was a theologian of the barest brushstroke. You’d barely know you were shaken, but then you quake through to your deepest marrow. 

Mary Oliver’s birthday is September 10. She would have been 88.

And here, in her poem “Messenger,” she describes her life’s work:

My work is loving the world.
Here the sunflowers, there the hummingbird—
equal seekers of sweetness.
Here the quickening yeast; there the blue plums.
Here the clam deep in the speckled sand.

Are my boots old? Is my coat torn?
Am I no longer young, and still half-perfect? Let me
keep my mind on what matters,
which is my work,

which is mostly standing still and learning to be
astonished.
The phoebe, the delphinium.
The sheep in the pasture, and the pasture.
Which is mostly rejoicing, since all the ingredients are here,

which is gratitude, to be given a mind and a heart
and these body-clothes,
a mouth with which to give shouts of joy
to the moth and the wren, to the sleepy dug-up clam,
telling them all, over and over, how it is
that we live forever.

—by Mary Oliver


Seeing Not Looking

Celtic scholar Esther de Waal considers Thomas Merton’s practice of contemplative photography:   

Thomas Merton was of course a writer and a teacher, and a poet, but he was also a photographer, and it is from his photographs that we learn much about how he saw the world, and how he prayed—and the two are of course intimately connected…. He handled a camera as an artist would, and used it as an instrument of delight and perception. It was in the later 1950s that the journalist John Howard Griffin [1920–1980] visited Merton in his hermitage. He had his camera with him and … let [Merton] keep it on extended loan. At first when Merton sent him the negatives, John Howard Griffin was puzzled, for [Merton’s] view was so different from that of most people. Merton photographed whatever crossed his path—a battered fence, a rundown wooden shack, weeds growing between cracks, working gloves thrown down on a stool, a dead root, a broken stone wall. He approached each thing with attention, he never imposed, he allowed each thing to communicate itself to him in its own terms, and he gave it its own voice.  

Later on when he was out in the woods with a young friend, Ron Seitz, both with their cameras, Merton reprimanded him severely for the speed with which he approached things. He told him to stop looking and to begin seeing:  

Because looking means that you already have something in mind for your eye to find; you’ve set out in search of your desired object and have closed off everything else presenting itself along the way. But seeing is being open and receptive to what comes to the eye…. [1] 

He used his camera primarily as a contemplative instrument. He captured the play of light and dark, the ambience, the inner life. But above all he struggled towards an expression of silence through the visual image, so that his photographs show us that ultimately his concern was to communicate the essence of silence. 


it’s the month of Elul in the Jewish calendar, a month for accounting of the soul before the high holidays, Rosh Hashanah, the new year, and Yom Kippur, the day of atonement. i’ve been deep in soulful accounting, and bring along this prayer from the blessed Rabbi Nachman, who taught that life should be lived with joy. and centered in prayer.

A Prayer of Rabbi Nachman of Bratslav (1772-1810)

Grant me the ability to be alone;
may it be my custom to go outdoors each day
among the trees and grass – among all growing things
and there may I be alone, and enter into prayer,
to talk with the One to whom I belong.
May I express there everything in my heart,
and may all the foliage of the field –
all grasses, trees, and plants –
awake at my coming,
to send the powers of their life into the words of my prayer
so that my prayer and speech are made whole
through the life and spirit of all growing things,
which are made as one by their transcendent Source.
May I then pour out the words of my heart
before your Presence like water, O God,
and lift up my hands to You in worship,
on my behalf, and that of my children!


hummingbird photo (above) by shelia zimmerman, sister of my beloved late friend mary ellen sullivan, may her memory be a blessing, (and it is. every day.)

happy blessed sunday birthday to a personal patron saint of mine, mark burrows.

looks like i was in the mood for capitals this morning, maybe just to prove i know how to find the shift key. hope you don’t mind the tall letters every once in a while. i do understand how it makes a sentence filled with proper nouns a bit easier to read…..

let’s play a bit of book group: what are some of your favorite Mary O lines, or words, or phrases?

p.s.s. i almost forgot: i’m taking The Book of Nature on the road this weekend. sunday afternoon, in fact, when i’ll be at Winnetka’s Book Stall at 2 p.m. for a book talk canceled last spring and now back on the calendar. problem is my little voice has gone missing again, and my vocal cord injections are on the books for tuesday, so it’ll be a bit squawky but the show must go on. it’s also Printers Row LitFest this weekend, so lots of getting pulled in several directions. wherever you are, have a lovely blessed almost-autumn weekend.

light lessons

i was slinking into the early-morning light of my garden, when i startled to the sound of a chainsaw. (a chainsaw in morning’s newly-born hours is, by any definition, a startling eruption.) i looked up and there was a man high in the limbs of the woodland grove that hugs the other side of the fence, the fence that now borders my quiet, contemplative, pretend-cloister garden. 

i swallowed my yelp, but let out a pipsqueak of question: “cutting down trees?” (my questions are so utterly incisive when chainsaws, at any hour, are involved.)

“only this one that’s in the way,” he replied as a tree as tall and willowy as our chimney came shimmying down. it was “in the way” of the soon-to-be hot tub that will gurgle and whir just the other side of said fence.

i swallowed back tears, and darted inside. 

i couldn’t bear to look at the now naked space, where once a gnarly old serviceberry had offered its limbs as occasional nursery and everyday waystation for the sparrows, and robins, and cheery wee chickadees that flock––season by season, hour by hour––to my feeders and fountains and free-for-all baths.

hours later, though, i needed distraction in the form of a hose. so i cranked the faucet and started my rounds. 

and that’s when i noticed: the light in that crook of my garden was suddenly dappled. and beautifully so. sunlight falling in splotches. and sprees. sunlight igniting the backsides of leaves. where once there’d been only monochrome of shadow, there now was shimmer and glint and translucence on flat plane of leaf and frill of each fern frond. the patch was a playlot for luminescence as never before. a landscape “tricked out in gilt,” is how annie dillard once wrote of the play of peekaboo light as it darted and dodged.

i almost swore i could hear the wide-mouthed leaves gulping down sunlight, a commodity they’d tasted far too little of over the long many years.

i stood there beholding. letting each molecule sink deep down within.

and i had to admit it was as lovely a light show as i’d seen since the one in the night sky the midnight before, when the great mama blue moon headlined the stage in her most zaftig dimensions. 

seems light is my gospel of the week. moonlight leading me home in the night. sunlight alive where it’s not fallen in decades. 

this whole holy earth, it seems, is straining to fill in my shadowy cracks with every last drop of all the light it can muster. 

and i, like my forget-me-not’s leaves, am guzzling it greedily down. 


after dousing myself in this splash of a light bath, this bit of earthly gospel from the center for spirituality in nature landed in my mailbox: more insight on light, the way the trees bend toward the light. botanically, biologically speaking, i mean. it’s the leaves that lead the way. specifically, the cells on the dark side of the leaves elongate and stretch toward the light, seeking photosynthesis, that alchemical wonder that stirs sunlight and water and carbon dioxide and somehow winds up with O2 and sugar, and moves the whole show along. the branches and twigs follow the lead of the leaves. so the tree actually bends, reaches toward light. and the question is asked: what would it mean to turn toward the light with all of our energy and substance and being? is their holy wisdom to drink in here?

it’s something to ponder, all right. so have a listen right here:

sometimes i think the folks in charge must have a check by name, letting them know i’m one of the ones who needs lessons in duplicate or triplicate. so when three times in 24 hours i’m struck by a lightbeam, i get the idea there’s something i’m supposed to be pondering. 

what light lessons have struck you lately? 


this beautiful poem, on how the world is saturated in prayer — voluntary and involuntary, spoken and sung, resounding and silent — is one i bumped into this week. it’s by carol ann duffy, one of the UK’s best-known poets, the first woman, and first openly LGBTQ+ person, to become poet laureate of the UK. it’s a poem with a bit of vernacular that might benefit from a few notes. so these, from my friends at SALT Project, a not-for-profit production company dedicated to visual storytelling and to my mind a humming hive of creativity:

(1) “Minims” are half-notes written on a page of musical notation. 

(2) BBC Radio has long broadcast the “Shipping Forecast” for the various seas around the British Isles, waters divided into 31 sea areas, including Rockall, Malin, Dogger, and Finisterre. These regular broadcasts, especially the ones late at night, are for many Britons a deeply familiar touchstone: the announcer’s voice methodically reciting the sea areas all around the islands, one by one, forecasting the weather. 

(3) And finally, “Finisterre” (pronounced “FIN-iss-tair,” rhymes with “BIN-kiss-fair”) literally means “end of the world”; the sea area’s name was recently changed to “FitztRoy,” but many Britons (such as the poet Duffy herself) grew up hearing the older name “Finisterre” repeatedly intoned on BBC Radio… 

Prayer

Some days, although we cannot pray, a prayer
utters itself. So, a woman will lift
her head from the sieve of her hands and stare
at the minims sung by a tree, a sudden gift.

Some nights, although we are faithless, the truth
enters our hearts, that small familiar pain;
then a man will stand stock-still, hearing his youth
in the distant Latin chanting of a train.

Pray for us now. Grade 1 piano scales
console the lodger looking out across
a Midlands town. Then dusk, and someone calls
a child’s name as though they named their loss.

Darkness outside. Inside, the radio’s prayer —
Rockall. Malin. Dogger. Finisterre.

  • Carol Ann Duffy

p.s. lots of chair birthdays in the days past: sharon b, jcv, my dear neighbor sarah who keeps us in sweets. and in the days ahead, my big brother john. happy blessed days to each and every one of you, and anyone else i might have happened to miss…