October 3, 2019. Had a relaxed nap this afternoon in my zero-gravity recliner – recently moved into the living room to increase wiggle space in the den. When I woke, I was staring at two images blurring together, becoming one big tug on my imagination – a waking dream. I lay back awhile exploring possibilities, then got up and did the obvious next thing: I wrote a poem.
The oil painting (perhaps by my grandmother) is of Texas bluebonnets along a country road, near Cuero, Texas. The cat is one of many feline figures decorating various surfaces in my home. Positioning cat within the frame was not entirely imagination – my angle looking upward (glasses nowhere near) contributed. I’ve reconstructed what I “saw” as collage.
Tomorrow I plan a repeat nap, same space. Who knows what I’ll see?
May 27, 2019. We are gearing up for another summer of travels … to places we’ve never been before, to places we’ve been yearning to get back to … in both cases, places that might present the next Native American wooden flute (or two) for Gary’s collection. He is selective! He trusts my skills and selectivity to yield the right custom bag for each flute.
Bags pictured were made last September, for flutes acquired last summer.
April 30, 2019. How to convey a magical experience? I was so into it while it lasted that “make a video” never occurred to me. The image here (collage of a prior moon photo with clip-art) hopefully conveys the impression of moving along at eye-level with the Good Friday full moon – view constantly bouncing due to varying swag of heavy black power lines. What a start to a weekend camping trip with a loooong drive down to Seminole Canyon State Park (West of Del Rio Tx). Who knew Austin’s I-35 offered a moon-viewing deck?
April 14, 2019. Recently I had the opportunity to sit in silence by a campfire, letting the dancing flames erase just about every thought … then present a face smiling at me from a burning log. Not a laughing grin … a serene smile. Apart from the added circle, this image is what my phone captured. The next morning I stared again at the face, recalling how it had indeed smiled all the way to sudden collapse. The haiku here is the result of multiple revisits to figure out just what message to take from that smile.
Maybe you will see a different message.
April 7, 2019. No, nothing to do with martial arts!
One week into Poetry Month, and under the influence of an evocative SoulCollage® group session yesterday, I take my stand – as poet, yes, but not just poet – as creative human giving creativity space, attention, support to flourish.
A word about SoulCollage® – a Jungian therapy process developed by Seena Frost – I’ve been practicing this since 2007. It’s something you DO as opposed to read about, but if curious, go here: https://www.soulcollage.com/
This image is a collage for four SoulCollage cards created yesterday. Image details were clipped from calendar/magazine pages and pieced together intuitively. Each of the four cards (5×8″) can be “read” – imagery speaking to whatever inside me chose and arranged the pieces. Collectively, they delivered this poem.
March 28, 2019. Spring has announced herself with an abundance of green coming up through dried leftovers of prior green frozen to the ground. Lots to clean up in the yard! I tackled the crinum bed alongside driveway a bit at a time to avoid arthritic reaction to the necessary bending, stooping at unusual angles. This poem emerged from the meditative nature of putting face repeatedly near earth … plus it was Mother’s birthday. The following day, my email brought me the poem Earth Song – including:
Those who are dead are never gone;
The dead are not down in the earth:
They are in the trembling of the trees
Indeed, Mother was right there with me in the crinums’ upward thrust.
Crinums produce large lily-like blooms – mine are a vivid pink, prolific come June.
I’m unable to find a direct link to Earth Song, Traditional from Senegal. I received it via Panhala – to subscribe, send a blank email to:
March 16, 2018. This poem emerged while studying Zen poets – mostly male, but one female poet made the syllabus. Otagaki Rengetsu (1791–1875) became a Japanese Buddhist nun and one of the country’s most respected female artists – combining her poetry, calligraphy, and pottery. She learned from Kyoto potters and decorated her rough and rugged bowls, cups, and other vessels with her poetry, either painted on or scored into the clay in flowing calligraphy. Orders from tea masters and others kept her very busy. This collage of found images shows both her pottery and calligraphy styles.