chilled lines (haiga shared at Fusion)
chilled lines sunsets once
reflection composed with doodooo on my iPod
shared at Fusion
Robert Frost’s stone house in Shaftsbury, Vermont
He had bought this house to try his hand at farming but quite unsuccessfully, yet he kept it, visiting it intermittently while he taught in and around the state. The house is now a modest museum with sparse furniture but paneled with text, chronicling his life and poetry. It’s here in a room facing south of what is now a field of wild flowers that he wrote his most anthologized and quoted poem, “Stopping by Woods on a Snowy Evening” one June morning following the winter he went horse riding. The room is dedicated to the poem, including how he wrote it—as a whole in one sweep—controversies regarding a comma, discussions and debates on what he meant by his most quoted stanza, as well as critics’ attempts at drawing out from him more than what he wrote. They agree on the ‘ulteriority’ of his poetry as he insisted there is no hidden meaning in his lines. He simply meant ‘it was getting late and I had to go home.’ But debates rage on…
“…The woods are lovely, dark and deep.
But I have promises to keep
And miles to go before I sleep,
And miles to go before I sleep.”
As a lover of his poetry, having been introduced to ‘his woods’ in my youth in a faraway tropical country, visiting his house has meant, for me, finding fulfillment of a yet another vague dream.
Alegria Imperialtxt/Eleanor Angelespix
as the moon/in my palm (2 tanka at LYNX)
1.
as the moon
transforms in sunlight
we shift roles
you into a clown, i
a hummingbird
2.
in my palm
the fortune teller
traces lines
one slides off my destiny
away from yours
LYNX XXVII:I February 2012
autumn wind (correction 11/09)
autumn wind–
the chapel door
closes early
by Alegria Imperial
7th place Sketchbook 5 SeptOct kukai
(Checkout the haiku thread as well–a lot of great haiku from poets of 70 countries who participated. Correction: 70 poems sent with 27 voted on/posted from poets of 10 countries)
Sometimes, a haiku moment just crystallizes. I must have been quite stilled when this one slipped in. But of course, just as swiftly, such a moment has sort of vanished and I’m fumbling through some lines again.
About
autumn wind
wondering about lilies
in a mountain pond
Tell me a writer who really gets a satisfying jornal, in Spanish a daily wage or its equivalent, and I’ll bare a spirit in constant bouts of doubtfulness. Does a writer earn more because of what he writes and how he does it? Or is a writer paid more or less because of who he is? Is it money or honor he expects to receive?
Ahhh … but money as wage, and praise or honor as reward would be too predictable, too common as Job lamented in the Book of Job. It is in these lines that read: “Is not man’s life on earth nothing more than pressed service, his times no better than hired drudgery? Like the slave, sighing for the shade, or the workman with no thought but his wages, months of delusion I have assigned to me, nothing for my own but nights of grief. Lying in bed I wonder, ‘When will it be day?’ Risen I think, ‘How slowly evening comes!’
Restlessly I fret till twilight falls. Swifter than a weaver’s shuttle my days have passed, and vanished, leaving no hope behind. Remember that my life is but a breath, and that my eyes will never again see joy.”
Not money but joy is the ultimate wage as the passage implies. And joy is not hard to earn for it is in everyday life if we have eyes to see, a nose to smell, fingers to touch, ears to hear–a heart beating. This to me, is how a writer earns a daily wage. His wages then take the guise of treasures his heart can transfigure into a universe of thought that taps into other hearts, that causes a swirl in the depth of other souls, or that makes wings to sprout on leaden heels.
Sometimes not joy but rueful, poignant moments are my pick. Take what I earned once: On my walk home in my neighborhood, I caught two clumps of snowdrops–such tiny blossoms smaller than fingertips that do not look up but shyly droop close to black patches on the ground winter has frozen. That afternoon in the frosty wind, they trembled as if ready to turn away and run but how could they? For that poignant moment on seeing the wintry rain beat on the fragile snowdrop–as if pushing it to go home now, go to sleep–I earned my jornal, my daily wage.
Once on summer walk, the crackle of dried leaves just hit me both like the laughter of children and sobs long suppressed. Neither one of them would resolve the dryness, but I recalled how each does bring tears: laughter for joy, sobs for healing that comes with the release of a dammed-up pain. My jornal that day came as two haiku.
Fall has since shortened the day and the heart begins to crave for lost space that it doesn’t even recall which or where. I feel that most treasures have turned into mush so much so I wouldn’t be able to sift them off the ground. Yet I caught the dying day yesterday–so glorious in the gold of autumn it opened a flip side of serene heaven. Blades of grass coated in diadems of rain that carpet the lawns render royal walks poor by imitation. A burst of red maple against an inky blue sky humbled me, a soul bragging about her skill to recreate beauty in words.
I suppose I’m taking Job’s reflections to heart. I’d rather not gloss over each day and look beyond what’s there, right before me, or else fragile as is my breath one day “my eyes may never again see joy” to write. With what then will I compare the eternal joy, the ultimate wage I await?
Yet for now, as other eyes hanker to make the invisible visible, I put a tag on some moments of joy. Like on seeing the snowdrops, I paid myself $200 as my jornal.
What could have been yours?
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