Most of my life was spent
building a bridge out over the sea
but the sea was too wide and it didn't
go anyplace. I'm proud of the bridge
hanging in the pure sea air. Machado
came for a visit and we sat on the
end of the bridge which was his idea.
Now that I'm old the work goes slowly
but the material keeps coming as I hang
here in the air. Ever nearer death I like
it out here high above the sea bundled
up for the arctic storms of late fall,
the resounding crash and moan of the sea,
the hundred foot depth of the green troughs.
Sometimes the sea roars and howls like
the animal it is, a continent wide and alive.
What beauty in this the darkest music
which imitates the sky's thunder
over which you can hear the lightest music of human
behavior, the tender connection between men and galaxies.
So I sit on the edge, wagging my feet above
the abyss, the fatal plummet. Tonight the moon
will be in my lap. This is my job, to study
the universe from my bridge. I have the sky, the sea,
the faint green streak of Canadian forest on the far shore.
- Jim Harrison
"Man was first a hunter, and an artist: his early vestiges tell us that alone. But he must always have dreamed, and recognized and guessed and supposed, all the skills of the imagination. Language itself is a continuously imaginative act. Rational discourse outside our familiar territory of Greek logic sounds to our ears like the wildest imagination. The Dogon, a people of West Africa, will tell you that a white fox named Ogo frequently weaves himself a hat of string bean hulls, puts it on his impudent head, and dances in the okra to insult and infuriate God Almighty, and that there's nothing we can do about it except abide him in faith and patience.
This is not folklore, or quaint custom, but as serious a matter to the Dogon as a filling station to us Americans. The imagination; that is, the way we shape and use the world, indeed the way we see the world, has geographical boundaries like islands, continents, and countries. These boundaries can be crossed."
- Guy Davenport
The Geography of the Imagination: Forty Essays
"There is something scary about letting ourselves go. It means that we will screw up, that we will relinquish the possibility of perfection. It means that we will say things we didn't mean to say and express feelings we can't explain. It means that we will be onstage and not have complete control, that we won't know what we're going to play until we begin, until the bow is drawn across the strings. While this spontaneous method might be frightening, it's also an extremely valuable source of creativity. The lesson about letting go is that we contain our own creativity. We are so worried about playing the wrong note or saying the wrong thing that we end up with nothing at all."
- Jonah Lehrer
Imagine: How Creativity Works
All That Is Glorious Around Us
is not, for me, these grand vistas, sublime peaks, mist-filled
overlooks, towering clouds, but doing errands on a day
of driving rain, staying dry inside the silver skin of the car,
160,000 miles, still running just fine. Or later,
sitting in a café warmed by the steam
from white chicken chili, two cups of dark coffee,
watching the red and gold leaves race down the street,
confetti from autumn's bright parade. And I think
of how my mother struggles to breathe, how few good days
she has now, how we never think about the glories
of breath, oxygen cascading down our throats to the lungs,
simple as the journey of water over a rock. It is the nature
of stone / to be satisfied / writes Mary Oliver, It is the nature
of water / to want to be somewhere else, rushing down
a rocky tor or high escarpment, the panoramic landscape
boundless behind it. But everything glorious is around
us already: black and blue graffiti shining in the rain's
bright glaze, the small rainbows of oil on the pavement,
where the last car to park has left its mark on the glistening
street, this radiant world.
- Barbara Crooker
"It is only for a week or two that a broken chair or a door off its hinges is recognized for such. Soon, imperceptibly, it changes its character, and becomes the chair which is always left in the corner, the door which does not shut. A pin, fastening a torn valance, rusts itself into the texture of the stuff, is irremovable; the cracked dessert plate and the stew pan with a hole in it, set aside until the man who rivets and solders should chance to come that way, become part of the dresser, are taken down and dusted and put back, and when the man arrives no one remembers them as things in need of repair. Five large keys rest inside the best soup-tureen, scrupulously preserved though no one knows what it was they once opened, and the pastry-cutter is there too, little missed, for the teacup without a handle has taken its place."
- Sylvia Townsend Warner
In The Middle
of a life that's as complicated as everyone else's,
struggling for balance, juggling time.
The mantle clock that was my grandfather's
has stopped at 9:20; we haven't had time
to get it repaired. The brass pendulum is still,
the chimes don't ring. One day I look out the window,
green summer, the next, the leaves have already fallen,
and a grey sky lowers the horizon. Our children almost grown,
our parents gone, it happened so fast. Each day, we must learn
again how to love, between morning's quick coffee
and evening's slow return. Steam from a pot of soup rises,
mixing with the yeasty smell of baking bread. Our bodies
twine, and the big black dog pushes his great head between;
his tail, a metronome, 3/4 time. We'll never get there,
Time is always ahead of us, running down the beach, urging
us on faster, faster, but sometimes we take off our watches,
sometimes we lie in the hammock, caught between the mesh
of rope and the net of stars, suspended, tangled up
in love, running out of time.
- Barbara Crooker
"When Heraclitus said that everything passes steadily along, he was not inciting us to make the best of the moment, an idea unseemly to his placid mind, but to pay attention to the pace of things. Each has its own rhythm: the nap of a dog, the procession of the equinoxes, the dances of Lydia, the majestically slow beat of the drums at Dodona, the swift runners at Olympia."
- Guy Davenport
I used to think the land
had something to say to us,
back when wildflowers
would come right up to your hand
as if they were tame.
Sooner or later, I thought,
the wind would begin to make sense
if I listened hard
and took notes religiously.
That was spring.
Now I'm not so sure:
the cloudless sky has a flat affect
and the fields plowed down after harvest
seem so expressionless,
keeping their own counsel.
This afternoon, nut tree leaves
blow across them
as if autumn had written us a long letter,
changed its mind,
and tore it into little scraps.
- Don Thompson
how to pay attention