The Poetics of Place: Redwood Speech,Watershed Prayers

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deep ecology, Francis Weller, humanity, inspiration, Language, music, Nature, quotations, The poetics of place, writing

“I want to see our words jump off the ground, erupt from a sensual earth, musty, humid, gritty. I want to taste words like honey, sweet and dripping with eternity. I want to hear words coming from my mouth and your mouth that are so beautiful that we wince with joy at their departure and arrival. I want to touch words that carry weight and substance, words that have shape and body, curve and tissue. I want to feel what we say as though the words were holy utterances surfacing from a pool where the gods drink. . . . .

My language must be redwood speech, watershed prayers, oak savannah, coupled in an erotic way with fog, heat, wind, rain and hills, sweetgrass and jackrabbits, wild iris and ocean current. My land is my language and only then can my longing for eloquence by granted. Until then I will fumble and fume and ache for a style of speaking that tells you who I am.”   – Francis Weller

One of my first blog posts in 2012 featured a speech by Francis Weller that captures so eloquently how the earth, our natural habitat, speaks to us and inspires us to speak. How it shapes our language and the way we express ourselves, not only in literature but in art and music and dance.

You can read his whole speech at his website Wisdom Bridge – Modern Pathways to our Indigenous Soul. The excerpt above, my quote of the week, hopefully will whet your appetite to do so.

As you read his speech, you might want to listen again to how nature inspires and shapes music, here in Max Richter’s reimagining of Vivaldi’s Four Seasons, one of my favorite pieces.

Making Music Wherever We Go – The Rhymes and Rhythms that Move Us

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child psychology, children, deep ecology, Language, memory, music, nursery rhymes, Philosophy, poetry, rhyme, rhythm, The Spell of the Sensuous

Ride a cock horse to Banbury Cross
To see a fine lady upon a fine horse.
Rings on her fingers and bells on her toes,
She shall make music wherever she goes

When I recite these lines from Mother Goose, especially the last two, the pleasure centers of my brain light up. I relish the rhyme and rhythm and repetition. I feel them in my body. I delight in the silliness, the leaps of logic, and the rich imagery.

I sense something deep at play here. Something serious. Something I’ve been trying to wrap my mind around for a long time now.

I grew up on nursery rhymes and fairy tales, as many children do. I read them to my own as well. My mother bought a whole set of books, twelve in all, meant to carry a child from the nursery into middle school. They were called My Book House and edited by Olive Beaupre Miller. I have them still, full of poems and stories, myths and legends, and fairy tales from all over the world.

The rhythms and rhymes and images of those books seeped into my growing bones and imagination and made me who I am today. I am sure of it. And the older I grow and the wider I read, the more I realize how these nursery rhymes speak to us on a deeper level than we might suspect.

Babies’ brains crave repetition, rhythm, and rhyme. They lap it up the way cats do rich cream, according to child psychologists. Reading nursery rhymes to infants facilitates language acquisition and creates early readers and lovers of words.

Even as adults, when engaged in rhythmical activity, whole portions of our brains light up in anticipation and pleasure, so musicologists will tell you.

We’ve long known how rhyme, rhythm and repetition are used by oral traditions as mnemonic devises to store and retrieve information. Somehow they tap into the deep roots of our memories, even as they light up the pleasure centers of our minds.

I can’t help wondering if it’s all linked somehow: rhyme, rhythm, pleasure, memory. Something deep and primal is going on.

No doubt some of the pleasure infants take in listening to these nursery rhymes comes from associating these sounds with similar sensations while being held in their mother’s arms: The rhythm of her rocking body, the sound of her heartbeat, the movement of her breath flowing through her. others they hear being held in their mother’s lap, or rocked in their father’s arms. I wonder if they hear in these rhythms and rhymes their own heartbeats and the feel of their breath moving through their bodies. Perhaps they recall the other pleasant and soothing sounds they hear all around them, day by day: their parent’s footsteps going up and down the stairs, the tap of raindrops on rooftops, and creaks of trees in wind storms, the chatter of squirrels and trills of songbirds when they wake in the morning?

It could be that listening to nursery rhymes recalls even the deeper memories. The pleasure of being in their mother’s womb, perhaps. Feeling the sway of her body as they walk together. Hearing the cadence of voices they recognize and take comfort in, even when they make no sense.

Perhaps the rhythms and rhymes and rich imagery first heard in the nursery tap into some ancestral memory still stored within the cells of our bodies, recalling the dreaming earth and seas from which life evolved. Perhaps we feel ourselves once again drifting in those ancient tides, swaying among the sea fans. We feel within ourselves the circling of the sun, the swirling of the galaxies, and hear the morning stars singing together.

Some linguists and philosophers say that language, rather than being some purely abstract phenomena, has its roots in the sensuous world around us.

“Ultimately, then, it is . . . the whole of the sensuous world that provides the deep structure of language. As we ourselves dwell and move within language, so, ultimately, do the other animals and animate things of the world: if we do not notice them there, it is only because language has forgotten its expressive depths. . . . .It is no more true that we speak than that the things, and the animate world itself, speak within us.” (David Abram from The Spell of the Sensuous)

“Language,” writes the philosopher Merleau-Ponty, “is the very voice of the trees, the waves, and the forests.”

This I know: The use of rhyme and rhythm in language, the repetition of alliteration, speaks to our deeper selves. In a way, we were made to make music, and to hear it, wherever we go. We carry the rhythms and rhymes of the universe in our swaying bodies and singing voices, in the memories and dreams that we weave and weave us, in our poetry and art and nursery rhymes. And in the language we spill across our pages like the patterns moonlight makes tracing tree leaves across grassy meadows.

POSTSCRIPT – I think my love of art began when browsing through the gorgeous illustrations of nursery rhymes and fairy tales found in My Book House. I created a Pinterest page to bookmark some of my favorites. You can view it HERE. It’s a work in progress

“A Strange and Beautiful” Entanglement

Tags

Creative Nonfiction, deep ecology, Francis Weller, grief, healing, Nature, spirituality

Recently, when most needed, I came across the essay “A Beautiful and Strange Otherness” by Wisdom Bridge founder, Francis Weller.

I love how he opens his essay:

“When we open ourselves and take in the sorrows of the world, letting them penetrate our insulated hut of the heart, we are both overwhelmed by the grief of the world and in some strange alchemical way, reunited with the aching, shimmering body of the planet. We become acutely aware that there is no “out there;” we share one continuous presence, one shared skin. Our suffering is mutually entangled, the one with the other, as is our healing.”

In the second part of his essay he lists four ways we can reconnect with this “continuous presence.”

• An Apprenticeship with Slowness
• Uncentering the Human
• Drinking the Tears of the World
• Entering the Storehouse of Myth

Each is beautifully articulated, and I urge you to read his whole essay.  But the third resonated most with me that day, and I’ve extracted it here.

Drinking the Tears of the World. How can we fail to love this achingly beautiful world when we are so completely jumbled together with it all? It is our myopia, our species-centric blindness that cuts us off from the actual world. To love this world, however, is to also know sorrow. Our grief is intimately connected to how far we allow our love to reach into the world. Think of those indigenous tribes willing to fight to the death to protect their homelands from being destroyed by mining or oil companies. They know their lives are inseparable from the animals, plants, rivers, spirits and ancestors of their lands. Our love was also meant to spill out into the world, into the forests, the rivers and cloudbanks. It was not meant to congeal in a single person or even a single species. As Thomas Berry said, “We have become a singular species talking only to itself.” When this happens—when the arc between our bodies and the great body of the earth breaks—we fall into an attachment disorder of epic proportions and everything suffers. Grief work is the third way we restore the bond with the world we inhabit.

The good news is we are supremely crafted to feel kinship with this breathing world. We are giant receptor sites for taking in the blue of the sky, the taste of honey, the caress of a lover, the scent of rain. Paul Shepard said we are more like a pond surface than a closed system: We are permeable, exchanging the vibrancy of wind, pollen, color and fragrance. Life moves into us and through us like a breeze, affecting us and shaping us into a part of the terrain. We are inseparable from all that surrounds us. To mend the attachment disorder, we simply have to step out of our isolated room of self and into the wider embrace that awaits each of us. When we do, something magical happens. As we build our capacity for transparency and allow the world to enter us, our feelings of love blossom and an erotic leap occurs, bringing everything close to our heart.

One of the reasons this essay resonated with me is because this idea of a “larger Self” is a theme that has been developing in my writing and my personal narrative, something I’ve been playing with for ages.

I see it everywhere now as I review my life and examine my writing. You can find it here on this blog as recently as “Us, Ancient” and “Infusing I and Other” and “La Gitana, Our Larger Self” and in so much of my meditative poetry.  Even in my revamped writing website traces of this thought can be found.

I think I return to it again and again because it reminds me to move beyond a personal, limited sense of self and experience myself in a larger, more expansive way. A way that rings more true to me.

It is certainly not a new idea, this sense of connecting with nature, with others, of an overriding, embracing Oneness. But I’m experiencing it in a new, more personal, more immediate way.   It’s become a lens through which I see my personal and public history writ large.

I’ll be writing about this more in future posts.

Endless Emerging Forms – Photos of Fog and Mist

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complexity theory, deep ecology, edge of chaos, emergence, Ephemeral, Mist, Nature, photography, Photography. thermodynamics, thermodynamics

I’ve long been drawn to photos of fog and mist.  Part of it is the feel for the ephemeral and mysterious, things half formed, half hidden.  Emerging from a soft nebulous background but not fully formed.

Things caught in a state of transition, in the midst of becoming what is or could be.  Or slowly dissolving back into mere mist or shadow, what was or could have been.

Some of my fascination has to do with the contrast between the softness and starkness of the images, how things are reduced to their elemental forms the way black and white photos will do.

All but the starkest, darkest trunks and branches revealed while the fog swallows the rest.  All that’s left is the essential, the finely sculpted, restrained and elegant.

Bare branches naked and exposed, live wires lifted in soft white hands

I think photos of mist and fog speak to me because they ring true.  They reveal in stark and dreamy notes how ephemeral it all is, this life we live, the forms and forces of nature. All in flux, in constant motion, emerging and dissolving over and over, without end.

The first law of thermodynamics, so they say, states how energy changes from one form to another, but never disappears.

The new fourth law proposed by some scientists is still uncertain, but moving toward the emergent, a law of motion where things are constantly pushed to the edge of chaos and the brink of “perpetual novelty,” an immense field of endless potentiality.

I see that too in these photos.

At noon in full summer, in the bright sunshine, with all our leaves shimmering, richly detailed, brimming lushly, dripping with  color, we hold life firmly in hand, our hearts aching with joy, with the pure bliss of being, and we think we will last forever.

But when the day is in transition, at dawn or dusk, emerging from darkness or drifting toward it, when mist or fog hides all but the faint essential lines of life, we see a starker and at the same time softer reality.  But just as beautiful, and just as enduring.

For what could be more constant and eternal than the fleeting?

Or that which emerges, fragile and half-formed, from the fertile wombs of earth and stars, seas and seeds, dreams and desires and the lusts of ages that brought us all to the brink of being.

Related articles

• Mystical Mist Photography – Infinity by Mikko Lagerstedt Captures the Mysteriousness of the Earth (TrendHunter.com) (trendhunter.com)
• Spectral morning (bogsofohio.wordpress.com)
• Mists and Madrigal Feasts (ladyimbriumsholocron.wordpress.com)

Hot Hills in Summer Heat

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deep ecology, human consciousness, Nature, poetry, writing

“I watch them every summer, the hot hills crouched like a lion beside the road. I see the strength—tawny skin pulled taut across long, lean ribs. I would take my hand and trace round ripples of male muscle, feel the hot rise and cool dip of his body. . . .” 

So begins a poem I wrote years ago as a young woman driving along the Central Coast of California on my way to class at Cal Poly University in San Luis Obispo.  I loved the commute along highway 101, especially that stretch between Pismo and Avila with the golden rolling hills studded with oak groves towering up beside me on one side, while on the other side lay the Pacific Ocean, cool and shimmering,  far below.

My commute was a kind of communion with silent companions that lay still and passive while I moved past them, watching them fervently. I traveled with my hands stretched out, tracing the changing contours of the passing landscape with my fingers. I felt the silky coolness of the sea, the soft brush of the hot hills– physically, intimately, intensely. And I felt as if I was leaving part of myself behind as I streamed past them

It was an overwhelming feeling, permeated by a sense of longing and loss, because that sense of connection, of “oneness,” I felt so keenly, was so fleeting.  A waft of perfume, a balmy breeze, that slowly dissipates and disappeared.

Knowing this, sometimes my watching was like a spurned lover or jealous mistress. Sometimes like a distant voyeur, or persistent suitor, watching and waiting, watching and waiting.  Waiting for that moment, as my poem concludes, when the lion so still and silent beside me would “rise, stretch his sensuous body against the sky with one low moan” and “pursue me”. 

Pursue and devour, was the unstated implication.  “Swallow me whole” is the metaphor that comes to mind these days—consummation.

All that waiting paid off, it appears.  My relationship with the natural world has matured over the years. How I remember so long ago watching the streaming stars passing overhead on those hot, balmy nights, and being filled with a deep sense of longing and loss.  This too must pass, I thought, and it was almost unbearable.  But no more. 

Now when I say goodnight to the stars before going to bed–the nights hot and balmy or crystal clear and cold–there’s no sense of longing. When I turn away toward the house nothing is lost. It’s all a part of me now.  A sustaining presence.  

And the passing days and nights, that sense of fleetingness that the poets have mourned over the ages, is “a dark stream streaming through me,” as I write in another poem.  It’s all one, the stream and the streaming.  It always was.

For those curious, here’s the complete poem I quoted earlier as written so long ago.

 Hot Hills in Summer Heat

I watch them every summer, the hot hills

Crouched like a lion beside the road.

I see the strength—tawny skin pulled taut

Across long, lean ribs.

I would take my hand and trace

Round ripples of male muscle, feel

The hot rise and cool dip of his body.

I see the arrogance—rocky head held

High against infinity, the patient power

Unmindful of the heat that holds me.

Someday he will rise, stretch his sensuous

Body against the sky with one, low moan.

On silent paws he will pursue me.

And so I wait.

Nature and Human Consciousness – Seeing Things As They Are

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deep ecology, human consciousness, Nature

© Luc Viatour (CC BY-SA 3.0)

Every time I write about nature I get deep into human consciousness. You can’t really separate the two. There is no “nature” – no way to identify, quantify, categorize, articulate, or understand it—apart from human consciousness, from how we think and talk about it.

 

We can’t study or explore or write about nature as something separate from ourselves, our own senses and experiences, our own thinking, perceiving, observations, experimentation. In that sense, nature is subjective, no matter how hard we try to objectify it.

This is not new, of course. Better writers and thinkers, from different disciplines, have explored this in more depth and detail that I can here.

This grand book the universe . . . is written in the language of mathematics, and its characters are triangles, circles, and other geometric figures without which it is humanly impossible to understand a single word of it: without these, one wanders around in a dark labyrinth.  —Galileo, Astronomer

All my knowledge of the world, even my scientific knowledge, is gained from my own particular point of view, or from the experience of the world . . . .  –Maurice Merleau-Ponty, Phenomenologist

We see and hear and otherwise experience very largely as we do because the language habits of our community predispose certain choices of interpretation. –Edward Sapir, Linguist

If the world exists and is not objectively solid and preexisting before I come on the scene, then what is it? The best answer seems to that the world is only a potential and not present without me or you to observe it. . . . All of the world’s many events are potentially present, able to be but not actually seen or felt until one of us sees or feels.  –Fred Allen Wolf, Physicist

Ah, not to be cut off,
not through the slightest partition
shut out from the law of the stars.
The inner—what is it?
if not intensified sky,
hurled through with birds and deep
with the winds of homecoming.
          -–Rainer Maria Rilke, Poet

The sun shines not on us, but in us. The rivers flow not past, but through us, thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, making them glide and sing. –John Muir, Naturalist

At times I feel as if I am spread out over the landscape and inside things, and am myself living in every tree, in the splashing waves, in the clouds and the animals that come and go, in the processions of the seasons. There is nothing . . . with which I am not linked.  –Carl Jung, Psychologist

See this rock over there? This rock’s me!  –Australian Aborigine

But in the ordinary play of our day, we forget this. We experience everything outside ourselves as “not me,” “alien,” “other.” Even our own bodies are commonly experienced as “not me.” We say “my stomach growled,” or “my foot fell asleep,” or “my sinuses are acting up,” because they seem to act involuntarily, with a mind of their own, without our conscious consent. As does nature, and other people, and the things we create—toasters and cars and computers.

Separating the whole of life and existence into parts is a useful way of talking and thinking about things.

But too often we fail to put everything back together and see how interdependent it all is, how embedded we are in the whole, and the whole in us. When we fail to do so we lose a vital understanding of ourselves and the universe, and we act in ways that may be harmful to the whole.

The see the ocean in a drop of water, to see ourselves in everyone we meet, is not, as some think, merely a poetic and rosy way of looking at the world. It’s to see things as they actually are.

“Redwood Speech, Watershed Prayers”

Tags

deep ecology, human consciousness, Nature, wild, writing

The following essay by Francis Weller captures so much of what I feel about nature, the natural habitat in which we live, how it shapes and grounds us, nourishes and inspires, and moves us beyond ourselves while at the same time giving us a deeper sense of who we really are.  

You can read the whole essay at his website Wisdom Bridge – Modern Pathways to our Indigenous Soul.

REDWOOD SPEECH, WATERSHED PRAYERS

The Poetics of Place

by Francis Weller

“Getting intimate with nature and knowing our own wild natures is a matter of going face to face many times.” ~Gary Snyder

Place, to indigenous cultures and the indigenous soul, is a living presence. Familiar watering holes, majestic mountains, sacred groves of trees, painted rocks and caves where initiations were held, added another dimension to life that is quite foreign to modern consciousness. To live within a sentient geography is to find oneself embedded in a rich and engaging terrain; a land that speaks. To our ancestors, and many indigenous cultures today, the landscape was another voice, a territory imbued with mystery and power. What this offered was another way to encounter the sacred and to enliven the imagination. This fertile exchange between place and psyche established a bond with the land, which, in turn, created an ethos of respect for the land. When the ground holds value, when it is the dwelling place of the spirits and the ancestors, when magic swirls through the canyons and across the plains, the relationship between the people and the land becomes sacramental.

Place is sensual, particular, felt as a presence offering itself to us for connection and spiritual sustenance. In traditional cultures, specific and revered places were saturated with stories, the ground filled with mythological rumblings, for example, the well-known storylines found in the landscape in the Dreamtime myths of the Aboriginal peoples of Australia. Likewise, the Western Apache in Arizona can name hundreds of sites where events took place “in the before time.” To their ancestors, these pathways marked the ways of survival. They led to water and food sources, but even more, they also provided a palpable way of encountering the sacred through geography. To know the world this way, as a living icon, is to know in your body that you are walking upon holy ground. The Aboriginal peoples knew this quality as djang. James Cowen explains what this word meant:

For them djang embodies a special power that can be felt only by those susceptible to its presence. In this way my nomad friends are able to journey from one place to another without ever feeling that they are leaving their homeland. What they feel in the earth, what they hear in the trees are the primordial whispers emanating from an ancient source. And it is this source, linked as it is to the Dreaming, that they acknowledge each time they feel the presence of the djang in the earth under their feet.

Read the rest HERE

The “wildness” I sense in our natural habitat and about which I write is that “living presence” and “mystery and power” he speaks of, even in rocks and streams, wind and fire, in things which do not grow or breathe.  It speaks to us, and shapes our language, how we communicate with each other, and articulate ourselves.

Weller continues:

The wild undoubtedly shaped our original words: imitations of animal sounds, wind, thunder, the music of ocean and river. This lustrous blend of sounds quickened the imagination of our ancestors . . . . Jay Griffiths writes, “Metaphor is where language is most wild, spirited and free, leaping boundaries, and it may be no surprise that Amazonian languages can be as matted and dense with metaphor as the forest is tangly with vegetation. The Amazon seems a place of boundless allusion, this unfenced wild, where meaning is twined within meaning; words couple and double, knotted together.”

In a very real way language and place are synonymous. Words reflect what we inhabit, where we dwell. Thomas Berry said that our imagination is only as rich as the diversity of the life around us. If we inhabit a terrain of microchips, cell phones and video monitors, we speak two-dimensionally, abstractly because there is nothing sensual about these realities.

If, on the other hand, our daily round includes sunlight, fragrances from the green earth, songbirds, tastes of berries picked from the bush, then our sensual minds stir and the words become as richly textured as the terrain. Our language has an ecology and it is as varied as the experiences it is given. Jay Griffiths speaks to this in her book, Wild: An Elemental Journey, “All languages have long aspired to echo the wild world that gave them growth and many indigenous peoples say that their words for creatures are imitations of their calls. According to phenomenologist Maurice Merleau-Ponty, language ‘is the very voice of the trees, the waves, the forest.’” (pg 25. Wild) . . . .

I want to see our words jump off the ground, erupt from a sensual earth, musty, humid, gritty. I want to taste words like honey, sweet and dripping with eternity. I want to hear words coming from my mouth and your mouth that are so beautiful that we wince with joy at their departure and arrival. I want to touch words that carry weight and substance, words that have shape and body, curve and tissue. I want to feel what we say as though the words were holy utterances surfacing from a pool where the gods drink. . . . . My language must be redwood speech, watershed prayers, oak savannah, coupled in an erotic way with fog, heat, wind, rain and hills, sweetgrass and jackrabbits, wild iris and ocean current. My land is my language and only then can my longing for eloquence by granted. Until then I will fumble and fume and ache for a style of speaking that tells you who I am.

I too long to sculpt words from rock and stream and trees, from birds and bees and the howl of coyotes, from wind and wave and the scent of earth.

How does your habitat speak to you?  How does it inspire you to speak?