Alexandersmap

    Category: Art

    • Poems and Cat Puke

      The clouds have left the sky,
      The wind hath left the sea,
      The half-moon up on high
      Shrinketh her face of dree

      She lightens on the comb
      Of leaden waves, that roar
      And thrust their hurried foam
      Up on the dusky shore.

      Behind the western bars
      The shrouded day retreats,
      And unperceived the stars
      Steal to their sovran seats.

      And whiter grows the foam,
      The small moon lightens more;
      And as I turn me home,
      My shadow walks before.
      – Robert Bridges, Dusky Shore

      There’s a moment when expectations meet reality. Certainly we all expected more out of 2020 than we got, and I can say the same about this morning’s blog. It started with a poem – Dusky Shore, as you see. It became cleanup in aisle 5.

      I’ve toyed with Bridges’ famous poem for some time, undecided about whether to dance with the classic romantic lines, or leave well enough alone. It has all the ingredients sprinkled together just so – the moon and the sea, post sunset dusky bliss and a turn towards home… but it still misses the mark for me. And I’m not sure why.

      I believe it’s in the way the words are stacked just so. It feels like he’s playing to the audience a bit to me, instead of mining his soul. But still the words are lovely in the way that a Thomas Kinkade painting is. Pretty, I suppose, but not really my style.

      As I walked down the stairs contemplating this poem and whether to go there, I came across the apocalyptic mounds of yellowish cat puke on the area rug that announced my quaint dalliance with Dusky Shore was going to take a back seat for the moment. As the designated early bird in a house full of night owls, I’m faced with such moments more than I care to remember. You either pretend not to see it or grab the paper towels and deal with it. I’ve learned it’s best to tackle the demons head-on and get on with your life. There’s nothing more demonic than cat puke on an area rug.

      I wonder about Robert Bridges, turning from the white foamy sea towards home, shadow walking before. As he opened the door to his humble home, what greeted him? For all the beauty of the prose, every now and then a little cat puke intrudes upon your Rosebud Cottage. It may be unwelcome, but it teaches you a bit about who you are when the moment of bliss is interrupted.

    • Quicksand and Tasks of Consequence

      “Bad writing is almost always a love poem addressed by the self to the self.” Toby Litt

      “The more books we read, the clearer it becomes that the true function of a writer is to produce a masterpiece and that no other task is of any consequence.” – Cyril Connolly

      The time we spend, these moments slipping through the hourglass, are either consequential or quicksand. And so the tasks filling those moments are loaded with questions – is this the right use of this brief moment in time or might there be a better place to spend the grains of sand? Is this a task of consequence, or is it a love poem to the self, mere folly?

      You know when you’ve stepped in quicksand. Maybe not immediately, but soon enough you recognize the stickiness of a habit and the sinking feeling that you’re not making any forward progress. Quicksand is tricky stuff. The one thing you don’t want to do when you’re in it is flail in place.

      Writing a blog every day might not be a masterpiece, but is it folly? The act of writing is pouring your grains of sand into a jumble of words and placing them just so. With a picture in your mind of what they might be if you could just get it right.

      The ultimate measure of tasks is whether you’re flailing in place or going somewhere consequential. What might you otherwise be doing with those grains of sand? The answer isn’t what are you doing now. Not really. It’s what are you becoming? That is what really matters. For what will your masterpiece be, in the end?

      Work towards that.

    • The Lindy Effect

      A few years ago Nassim Nicholas Taleb described a phenomenon known as the Lindy Effect in his book Antifragile. Soon after you started hearing about it in other work, referenced in blog posts, magazine articles and even its own Wikipedia page. I tend to shy away from uber-trendy topics, but I’ve thought a lot about this Lindy Effect since reading about it in Taleb’s book.

      “I follow the Lindy effect as a guide in selecting what to read: books that have been around for ten years will be around for ten more; books that have been around for two millennia should be around for quite a bit of time, and so forth.” – Nassim Nicholas Taleb, Antifragile

      Lindy’s was a famous deli in New York where comedians and actors would gather and discuss such things as the durability of a Broadway show. The observation is that if something survives for a period of time longer than the norm, it implies that it will survive at least that long into the future. The Lindy Effect only applies to non-perishable items, so you and I and that orange on the counter don’t count. But that picture you take or that book you write or the product you release to the market do count. The implication is that you might build something that outlasts you by a long stretch.

      Henry David Thoreau died just eight years after publishing Walden, but the book lives on to this day. When it was originally published it was hardly noticed. Yet today it’s been read by millions. When Ansel Adams took the photograph “Monolith, the Face of Half Dome” in 1927 he was creating something that still captures the imagination of people around the world almost 100 years later. It was the picture that built his legacy and helped preserve Yosemite.

      Ernest Hemingway published his first classic, The Sun Also Rises, in October of 1926, six months before Adams took that photograph. Hemingway had a burning desire to be a great writer, and to publish great and lasting work. Many people point to the last lines of the novel for the way it captures the relationship between the two central characters. You might also see the final line as a hopeful wish from Hemingway that this book might fly:

      “Oh Jake,” Brett said, “We could have had such a damned good time together.”
      Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly, pressing Brett against me.
      Yes,” I said. “Isn’t it pretty to think so?”
      – Ernest Hemingway, The Sun Also Rises

      I’ve noticed a small trend in this blog where 6-10 specific blog posts seem to get views all the time, while the other 1000+ have their moment in the spotlight and fade away over time. Millions of books and paintings and pictures similarly fade away over time, but some stand up forever as legendary. Making art may have a formula, but creating its stickiness remains a mystery to most of us.

      Ironically, Lindy’s, the delicatessen that gave birth to the concept of building something that might last forever, closed forever in 2017. For businesses are perishable too. Yet its name lives on. Maybe, like Thoreau or Adams or Hemingway, that is as it should be.

    • Leaning Into Revelatory Writing

      “I feel it’s important for me to be completely honest in what I write about. To me artists fall into two categories, they are revelatory or obfuscatory. There are artists that want to create an image of themselves, that isn’t really them, but it’s part of the product, the brand and stuff like that. So whenever they are in the context of performance… they adopt this persona. And the words that they write are from this persona not from themselves… I have always been a revelatory artist. I am most interested in writing about the things that I actually think about rather than trying to think about what someone wants to hear and write about that.” – Todd Rundgren, from The Moment podcast interview

      There are days when I’d rather have published anonymously. There’s something liberating about the free pass granted to the anonymous – you see it in Tweet and troll comments I suppose, where people feel they can say anything that comes to mind. But, deep down, can you really respect the anonymous? I don’t believe so. We respect those who put themselves out on a limb.

      We all balance the character we want to present to the world with who we actually are. As you get a bit wiser you stop worrying about becoming a character and you just become yourself (and some of us are real characters). Artists either play for the hits or mine deep for the gold. Now and then you get both in the same work.

      If you’re lucky and a bit brave, you reach a point where you just write for the love of discovery and revelation. Joyful bits of magic stumbled upon and written about, one post at a time. Some frivolous, some tedious, but now and then you scrub the words together just so and something sparkles. Sometimes you’re the only one that sees the glimmer, other times it bounces around the room like laser light on a disco ball.

      You know when you’ve put it all out there, just as you know when you’ve held back a bit of yourself. I’ve written a few posts where I clearly obfuscated and see it immediately when I look back on it. I think most people see it too. Deep down we all know when someone is holding back or playing to the audience. Fluff writing designed for clicks and likes and whatnot.

      Rundgren reminds me that there’s more to do. You want your work to crackle and spark imagination and wonder? Go deeper. Leaning into revelatory writing is a leap into the the chasm. But where else would you rather be?

    • Like Stone Nestles on Stone

      “Poetry is language against which we have no defenses.” – David Whyte

      I’ve been spending a bit of time with David Whyte lately, catching up on words I ought to have read long ago but wasn’t ready to hear. I was a different person then, more closed to the world despite the outward bravado. You learn who you are through the windy path of words flowing from you onto the page. And then you set them free to find an audience ready for that particular jumble of words to add to their own foundation.

      Let the words join
      one to another
      the way stone nestles on stone,
      the way water just leaves
      and goes to the sea,
      the way your promise
      breathes and belongs
      with every other promise
      the world has ever made.

      Now, leave them to go on,
      let your words
      carry their own life,
      without you, let the promise
      go with the river.
      Have faith. Walk away.
      – David Whyte, To Break a Promise (Cúnga Fheichin)

      For me releasing the words into the wild is a form of building my own foundation. Each place visited, each poem immersed in, and each mountain climbed is like stone nestled on stone joined together just so as a work very much in progress. Building a life out of adventurous conspiracies and schemes, written down and sent on their way out into the world for you to see.

      “The act of writing anything worthwhile always takes place at that strange and sometimes disturbing crossroads where aloneness and intimacy meet… This break of the boundary between what we think is a self and what we think is other than our self is where the rich vein of beauty and insight become a reward in and of itself, and where the words suddenly seem to belong to everyone.” – David Whyte, from the forward of Essentials

      Experience and words create that thing that is other than our selves. It’s the building of that puzzle that is our self one piece at a time. What seems a chaotic pile on the table slowly forms into a picture of who we are. The funny thing about a puzzle is you finish and throw it all back in the box and build another picture. You can’t build another part of your identity until you clear the table of the old one.

      So which is it? Are words and experience stacked together like a stone wall or foundation, laid to be resilient, or like a puzzle built very much the same way but temporary in nature? That’s one of those forest for the trees questions, isn’t it? The universe views the stacked stones and the stack of words the way it views those jigsaw puzzles on the table. Everything is temporal. Words are like carbon, momentarily ours and one day something else entirely.

      I believe we ought to keep stacking words and building new puzzles, but to do it for the joy of the process. To set those words free to fly on their own. Scattered throughout the world to land where they may. To that meeting place between aloneness and intimacy.

    • Something More

      “The world always seems brighter when you’ve just made something that wasn’t there before.” Neil Gaiman

      This rather cheery quote by Gaiman prompts a challenge of sorts from me. For making something isn’t what makes the world brighter, making something you care about making is what brightens the world. For in the making of something in such a way you honor the world with your contribution.

      As Gaiman rightly points out, we’re lovingly placing something that wasn’t there before out in the world for it to embrace. Will it fly or get lost in the noise? It’s not up to us to decide. It’s up to us to create it and set it free. And then to get back to the business of building another beacon.

      The best of our work becomes accretive rather than reductive. Look around, there’s plenty of people creating hateful, mean-spirited work that divides and diminishes the world. But not us, no: we offer something more. Something that resonates across the table and across time. For the very best work becomes timeless.

      So what makes something timeless? I believe it’s the deep connection between two people that your work represents. Paint placed just so on canvas. Architecture that stirs the heart generations after the last stones were laid. Words that transcend the author or poet and connect one soul to another. This is what brightens the world. This is the shining soul beacon of the artist that keeps hope alive, like a Fresnel lens lights the distance in a turbulent dark sea:

      “If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.” – Henry David Thoreau, Walden

      “Dwell on the beauty of life. Watch the stars, and see yourself running with them.”
      – Marcus Aurelius, Meditations

      “Tell me, what is it you plan to do
      with your one wild and precious life?”
      – Mary Oliver, The Summer Day

      “If you dare nothing, then when the day is over, nothing is all you will have gained.”
      – Neil Gaiman, The Graveyard Book

      “This above all: to thine own self be true,
      And it must follow, as the night the day,
      Thou canst not then be false to any man.”
      – William Shakespeare, Hamlet

      All words across time, offering a path through the darkness in the world. Offering hope and direction and illumination. This is something more. And this is our opportunity too. Great artists are ambassadors to the world, bridge builders to the future, and infinite soul connectors. That’s something to aspire to.

    • Trust Our Heaviness

      How surely gravity’s law,
      strong as an ocean current,
      takes hold of the smallest thing
      and pulls it toward the heart of the world.

      Each thing—
      each stone, blossom, child —
      is held in place.
      Only we, in our arrogance,
      push out beyond what we each belong to
      for some empty freedom.

      If we surrendered
      to earth’s intelligence
      we could rise up rooted, like trees.

      Instead we entangle ourselves
      in knots of our own making
      and struggle, lonely and confused.

      So like children, we begin again
      to learn from the things,
      because they are in God’s heart;
      they have never left him.

      This is what the things can teach us:
      to fall,
      patiently to trust our heaviness.
      Even a bird has to do that
      before he can fly.
      by Rainer Maria Rilke, How Surely Gravity’s Law

      It’s been a long time since I posted an entire poem, but Rilke’s demands a full reading. And if I were bolder I might just leave it there by itself, instead of injecting my own commentary on the world. But a blog (to me) necessarily demands contribution not simply reposting. And so my own words dare to follow Rilke’s, reaching for a place at the table.

      The key word in the poem is surrendered: to earth’s intelligence, to God’s heart if you will, to our own heaviness. You realize your imperfection and embrace it. In doing so you recognize the entanglements and struggles in others. You accept them for what they are as well. And learn to trust others and most of all your own voice.

      You reach a point in life where you let go of it all and to stop worrying about place and whether you’ve earned it. You stop worrying about everything, really. The work remains, but the will is stronger. You’ve rooted yourself to things tangible and true and begin to rise up.

      To push out beyond. Grounded. And anchored so, we begin to fly.

    • The Eternal Makes You Urgent

      “Once the soul awakens, the search begins and you can never go back. From then on, you are inflamed with a special longing that will never again let you linger in the lowlands of complacency and partial fulfillment. The eternal makes you urgent.” – John O’Donohue, Anam Cara: A Book of Celtic Wisdom

      O’Donohue picked the name of his book with purpose. “Anam cara”, or “soul mate”, suggests that the timeless wisdom buried within might offer the kind of guidance you would get from a cherished friend or spouse. Google it and you’ll find coffee mugs and spiritual retreats and other such things. It would also be a great boat name. And it stirs something in you whether you have one or long for one.

      This idea of the soul awakening isn’t new to us. If this awakening happens at all, it might not be thought of as soul, but as passion or purpose or calling. Some of us steer clear of words like soul. It almost feels intrusive for me to be writing about such things. Not skating my lane, you might say. But I understand eternity, and urgency, and this idea that the things that matter most to us require immediate attention. For our time in eternity isn’t the moments on this side of the turf.

      My own urgency started burning inside of me when I started writing again. It served as a catalyst for exploration and deeper thinking. And when you have it yourself you quickly see the urgency in others. Hikers hiking every available moment, landlocked sailors scrambling to be ready for the warmer days ahead, small business owners pouring every bit of available energy into standing up something special, artists creating brilliant mirrors that reflect back on the rest of us. Urgency senses its kind out in the wild.

      The trick is finding and awakening that soul. And you only find it by trying and doing, tossing aside and finding something else to do. If you’re lucky you find it quickly and embrace it. Or you see it and follow a different path, only to have it pull at you until you finally listen or die embittered at the path you took instead. That’s no way to begin eternity. Is it?

    • The Rhode Island Red Monument

      One of the joys of travel is stumbling upon roadside curiosities. On my pilgrimage to visit a favorite hero of King Philip’s War I came across a monument to the Rhode Island Red that drew my attention. The Rhode Island Red is a hen, of course, that famously and productively laid eggs particularly well, which led to breeding of this particular character to make eggs a common and reliable staple of our diet. It seems the Rhode Island Red was first bred on a farm in Little Compton, Rhode Island.

      In 1925 a group of Rhode Island Red enthusiasts erected this monument to the hen, commissioning an artist named Henry Norton to make it. But here’s where the story gets interesting. One group wanted the monument to be erected at the actual farm where the hens were first bred. Another group wanted it in a more prominent location in town (where I came across it, validating their choice I suppose). For a small town, this was pretty heated, with both sides trying to establish a pecking order. At the unveiling of the first monument the opposing group didn’t show up, apparently feeling the location was pretty… fowl. A year later they erected their own monument at their preferred site. The 1925 monument features a rooster, the 1926 monument features a hen. But a well-placed hen. They really showed ’em.

      The 1925 Rhode Island Red Monument

      The inscription on the 1925 monument reads:
      “To commemorate the birthplace of the
      Rhode Island Red breed of fowl which
      originated near this location
      ___
      red fowls bred extensively by
      the farmers of this district and later
      named “Rhode Island Reds” and brought into
      national prominence by the poultry fanciers
      ___
      this tablet placed by the
      Rhode Island Red Club of America
      with contributions of Rhode Island Red
      breeders throughout the world
      on land donated by
      Deborah Manchester
      1925″

      This entire incident is described in the monument’s Wikipedia page in delightful detail. Not having the back story when I came across the monument, I wasn’t aware of the other monument. Now I feel compelled to return to Little Compton again sometime to find it. In the meantime, Norton’s 1925 monument quietly marks time, closing in on its 100th birthday. Placed on the National Register of Historic Places in 2001, this monument to a chicken has secured its own place in history.

    • A Blessed Unrest: Martha Graham in 7 Quotes

      “The only sin is mediocrity.” – Martha Graham

      I only know of Martha Graham, and associate her appropriately with modern dance, which admittedly I wrestle with. I’ve witnessed way too many angst-ridden dance competitions on the journey of my daughter dancing from kindergarten to High School Senior. But I respect the beauty of formal dance (while struggling with the abundance of teen angst), and wanted to understand the genius of Graham through her words. As with other geniuses, her brilliance transcends her art and her life. Speaking of the sin of mediocrity speaks to her passionate pursuit of the exceptional.

      “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. … No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”

      Do you feel the urgency in those words? I do. I read a quote like that and understand. What is your quickening? Are you translating your vitality through action or wasting it in the trivial pursuits? Graham lived to 97 and packed those years with transformative action. What of our life force?

      “‘Age’ is the acceptance of a term of years. But maturity is the glory of years.”

      Growing older but not up is a state of mind; to remain young at heart. But it can also be an excuse for not getting to where you want to go. The glory of years is an accumulation of life and accomplishments and the ripples that resonate well beyond our time. It’s something to aspire to, not “getting older”, but accumulating maturity.

      “Practice is the means of inviting the perfection desired.”

      There’s no secret in how people reach mastery. We know it intuitively even if we don’t see the hours upon hours of work that go into muscle memory. These are the layers of competence that stack up to brilliance. Put in the time, do the work, make the mistakes, and reach for the next level. It’s the only way.

      “Some men have thousands of reasons why they cannot do what they want to, when all they need is one reason why they can”

      What is your why? Why are you doing all this in the first place? What whispers in your ear and prods you along? Without your why you’re just going through the motions. And what a waste that is.

      “Movement never lies. It is a barometer telling the state of the soul’s weather to all who can read it.”

      For all our words, our thoughts are betrayed by our bodies. You see it in how someone greets you, how someone answers a pointed question, and in how they dance with the world around them. We frequently won’t listen to what our gut is telling us, instead only believing what the mind is telling us to believe. Not wanting to be ignored, the gut tells the world what we won’t hear in ourselves.

      “Think of the magic of the foot, comparatively small, upon which your whole weight rests. It’s a miracle and the dance is a celebration of that miracle.”

      I’m not much of a dancer, not like those well-choreographed, practiced dancers people naturally circle on the dance floor in reverence, but I like to dance my own clydesdale celebratory dance anyway. Someday when the pandemic is over and weddings and other such gatherings seem appropriate again, we’ll find ourselves on a dance floor somewhere and we will rise up to celebrate life in all its glory. The celebration of that miracle – our being, our aliveness, the magic of it all, was the why in Graham’s life, and shouldn’t it be in our own lives as well? For we dance with life in all its complexity, pain and joy. There’s magic in being alive, and that’s reason enough to dance. And to rise up to more.