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I-35 Bridge Memorial, Droid Shots, 35W Bridge Remembrance Garden, Minnesota, July 2014, photo © 2014 by QuoinMonkey. All rights reserved.


Our lives are not only defined by what happens, but by how we act in the face of it, not only by what life brings us, but by what we bring to life. Selfless actions and compassion create enduring community out of tragic events.


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Julia Blackhawk, Poem For Julia, Droid Shots, 35W Bridge Remembrance Garden, Minnesota, July 2014, photo © 2014 by QuoinMonkey. All rights reserved.


Read more about the Memorial and the names of the 13 people who died at the piece: I-35 Bridge – 5 Years Later – I Remember.

-posted on red Ravine, August 1st, 2014

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Finally. Spring. , Droid Shots, Minneapolis, Minnesota, May 2014, photos © 2014 by QuoinMonkey. All rights reserved.

Finally. Spring. , Droid Shots, Minneapolis, Minnesota, May 2014, photos © 2014 by QuoinMonkey. All rights reserved.





May disappears—
beneath the weight of her death
a blossoming light






-posted on red Ravine, Saturday, May 31st, 2014

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Lately I have begun to measure time by the way I savor or squander it. Yesterday, I had the day to myself. I spent many hours reading in silence. When I find my writing languishing, it is good to read the words of those willing to share the places they have stumbled and succeeded. “The Getaway Car” has traveled both paved and potholed roads.



Art stands on the shoulders of craft, which means that to get to the art you must master the craft. If you want to write, practice writing. Practice it for hours a day, not to come up with a story you can publish, but because you long to learn how to write well, because there is something that you alone can say. Write the story, learn from it, put it away, write another story. Think of a sink pipe filled with sticky sediment. The only way to get clean water is to force a small ocean through the tap. Most of us are full up with bad stories, boring stories, self-indulgent stories, searing works of unendurable melodrama. We must get all of them out of our system in order to find the good stories that may or may not exist in the freshwater underneath.

—Ann Patchett from “The Getaway Car” in This Is The Story Of A Happy Marriage, HarperCollins 2013.




Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this because it is the key to making art, and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds), I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe, more than anything, that this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is the key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.

—Ann Patchett from “The Getaway Car” in This Is The Story Of A Happy Marriage, HarperCollins 2013.


-posted on red Ravine, Saturday, April 19th, 2014

-related to posts: The Ant & The Grasshopper – Ann Patchett & Lucy Grealy, Which Came First, The Grasshopper Or The Egg?, Ann Patchett – On Truth, Beauty, & The Adventures Of “Opera Girl”

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Heartbeat Of A Dragonfly, Droid Shots, Minneapolis, Minnesota, January 2014, photos © 2014 by QuoinMonkey. All rights reserved.




New Moon, New Year—
I make no promises.
Only hope for a year filled with light,
soft shadows off the heartbeat
of a dragonfly.






-posted on red Ravine, Wednesday, January 1st, 2014

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Sundog Halo, iPhone Shots, Minneapolis, Minnesota, December 2013, photo © 2013 by Liz Anne Schultz. All rights reserved.




Sundog halo
in a dark world—

her crystal face, silent, skewed.

Deviant rays of red and blue,
diamond dust takes many hues.







There were two days last week when sundogs appeared on our drive to work, adding a little magic to the sub-zero skies. Sundogs, parhelia, are formed by plate crystals high in the cirrus clouds. Though all crystals refract light from the sun’s rays, we only see those that tilt their light toward our eyes 22° or more from the sun and at the same altitude (a 22° circular halo).

When plate crystals drift down with their large hexagonal faces almost horizontal, rays that become sundogs enter a side face and leave through another, inclined 60° to the first. The refractions deviate the rays by 22° or more, depending on their angle when they enter the crystal, making them visible to us. Red is deviated least, giving the sundog a red inner edge.

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Vädersolstavlan, a 17th century painting of Stockholm depicting a halo display event in 1535. Cleaned in 1998. Public Domain.

 

 

Sundogs are visible all over the world, any time of year, regardless of the ground temperature. In cold climates, the plates can reside at ground level as diamond dust. The oldest known account of a sundog is “Sun Dog Painting” (Vädersolstavlan) depicting Stockholm in 1535 when the skyscape was filled with white circles and arcs crossing the horizon. The original oil on panel painting, traditionally attributed to Urban Målare, is lost, and virtually nothing is known about it. A copy from 1636 by Jacob Heinrich Elbfas is held in Storkyrkan in Stockholm, and believed to be an accurate copy.





-posted on red Ravine, Monday, December 9th, 2013

-related to post WRITING TOPIC — CIRCLES, haiku 4 (one-a-day) Meets renga 52



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Wheel Of Life, Minneapolis, Minnesota, October 2008, photo © 2008-2013 by QuoinMonkey. All rights reserved.


ONE: Gates Of Death, Stage 10 of The Great Round, begins the natural process of ending the Great Round cycle in preparation for a new beginning. Experiences that open this stage often come in losses or obstructions that challenge us to question who we are. The first mandala, Wheel Of Life, brings us face to face with the relentless passage of time. The Wheel of Life turns on, sometimes up, sometimes down, urging us to let go.

Medium: Crayola markers, Portfolio Brand Water-Soluble Oil Pastels, Rainbow Magic pens that erase and change color, Reeves Water Colour Pencils




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Celtic Cross, Minneapolis, Minnesota, October 2008, photo © 2008-2013 by QuoinMonkey. All rights reserved.


TWO: In Stage 10, we are being separated from that which is no longer needed. Celtic crosses made of tall, silent, enduring stone dot the landscape of Scotland. They stand against the sky, washed by the winds and rains of countless seasons, reminders that even though things change, there is a part of us that lives on.

Medium: Crayola markers, Portfolio Brand Water-Soluble Oil Pastels, and Reeves Water Colour Pencils




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Lotus, Minneapolis, Minnesota, October 2008, photo © 2008-2013 by QuoinMonkey. All rights reserved.


THREE: In mandala three, based on the Kali Yantra of Hinduism, destruction opens the way for creation. The eight-petaled lotus represents the goddess Kali in her nurturing maternal aspect. The inner circle, traditionally colored black, reveals her also as a Destroyer, the dark womb that absorbs all into non-being. The central triangle, ultimate symbol of divine feminine creative energy, holds the spark of new life.

Medium: Crayola markers, Portfolio Brand Water-Soluble Oil Pastels, and Reeves Water Colour Pencils




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Gateway, Minneapolis, Minnesota, October 2008, photo © 2008-2013 by QuoinMonkey. All rights reserved.


FOUR: Stage 10, Gates of Death, opens the last segue leading to the completion of a Great Round cycle, and urges us to walk through the gate into the unknown. It is time to let go of the way things have been and clear the way for a new beginning.

Medium: Reeves Water Colour Pencils, Crayola markers




October Mandalas — Stage 10 – Gates Of Death


The last few months I have been feeling empty, like I am nearing the end of a creative cycle. I have been wanting to shed the old, to wrap up lingering projects and push them out into the world, so that I can open to something new. It’s disconcerting to not know where you are going—a good time to revisit old practices. Yesterday, I spent most of the day in silence and opened the book on mandalas. When I revisited Stage 10, Gates of Death, I knew it was time to sit with the lessons it had to teach.

The mandalas are from the 10th month of a year-long mandala practice that began with the post Coloring Mandalas and followed the twelve passages of Joan Kellogg’s Archetypal Stages of the Great Round. I spent that year taking the Great Round to completion. But there was something I had yet to understand—-it would take until 2013 for events of my life to catch up to the last cycles of the Great Round. Some of the signs of Stage 10 – Gates of Death are:

  • losses or obstructions that challenge us, causing us to question who we are
  • things that once seemed important, seem empty & meaningless
  • bittersweet parting with what was; painful rending from what can no longer be
  • desire to let go of life the way it was, with no sense of what is to come
  • sense of deflation when the connection between Ego & Self grows more distant
  • aware of cycles of decay in nature and the eventual approach of death


Adding to the sense of disorientation I’ve been feeling, I lost a writing friend in July. And in November, I found out my blood father died on October 31st, ending any chance he might have to read the letter I wrote. Death. Decay. Loss. Rebirth. I still believe that anything we take on as a practice takes us where we need to go. It is the time it takes to get there that remains a mystery.



Archetypal Stages Of The Great Round on red Ravine:


Crystallization — September Mandalas
Functioning Ego – August Mandalas (Goethe & Color)
Squaring The Circle – July Mandalas (Chakras & Color)
Dragon Fight — June Mandalas
Target — May Mandalas
Beginnings — April Mandalas
Labyrinth – March Mandalas
Bliss – February Mandalas
The Void – January Mandalas
Coloring Mandalas


-posted on red Ravine, Thanksgiving weekend, Saturday, November 30th, 2013




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by Ester Johansson Murray




           My country friend
           Comes bearing gifts:
Large, brown eggs with thick shells,
Tactile pleasure to cradle one
        in my palm,
Then, gently poached,
          a pleasure to eat.

         She labeled the jelly jar
        "Honey from our Hives".
I envision green fields of alfalfa
with throaty, blue flowers providing
the amber, viscous sweet;
then, worker bees gather, transport,
store it in hexagonal
wax cells of honey-comb.
Their hive a communal home,
with an insect society so complex
I can't understand it.
         But this I know,
savoring honey is like
partaking of a sacrament.

         Here in town, I watch
the furry, brown and orange
workers fly in from God-knows-where.
They harvest the blossoms,
gather honey,
wallow in pollen,
then, airborne with cargo
they vanish.
         Except, if day fades,
some bed down among
stamens and pistils—
sleep-over guests.




_________________________



About Ester: Ester Johansson Murray is a graduate of the University of Wyoming and taught at Cody High School for several years. Now in her 90’s, Ester was born and raised in the Cody area, the only child of Swedish immigrants. She is a member of Writers of Wyoming (WOW) and has had three stories published in the WOW Anthology, From the Heart.

Ester has served the Park County Historical Society as Secretary and President. She was recognized by the Wyoming State Historical Society with an award for her three books and several published articles on Wyoming history. Ester is a member of “Westerners International,” an organization that enjoys and studies the culture of the early American Western Frontier. She is generous with her time in researching history for others.

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