Bones Of The Sea

Curly-Q, Minneapolis, Minnesota, iPhone Shots, February 18th, 2023, photo © 2023 by Liz Schultz. All rights reserved.

Liz unpacks the spiral shells out of a plastic peroxide bottle with the top slit open to form a hinge. Amy carefully packed them for us before we left St. Joe Beach. Shells, the bones of the sea. Skeletons made of calcium, color revealing the nutrients they ate. Shells scattered on the beaches we visited in the panhandle. Sand dollars washed up at Crooked Beach. You had to wade into the water at first to spot the good ones. Later you trained your eyes to pluck them from wet sand. “It’s like Neptune,” Liz said. “The wave rolls in, all foamy and murky. When the wave washes out, for a moment, everything is clear. That’s when you find your prize.” The translucent jingle shells appeared on Windmark and tiny coquina shells. Surf clams, cat’s paws, and limpets with holes in them on St. Joe. Protection for the soft insides that live outside in the ocean. No backbones.

Shell on the Moon, Minneapolis, Minnesota, iPhone Shots, February 18th, 2023, photo © 2023 by Liz Schultz. All rights reserved.

 

Backbone. We say those with backbone are strong, can pull their weight in a crisis. I’m not good in a crisis. I don’t pivot quickly. But Liz does. In chaotic situations, she will grab my hand, say, “I got cha” and weave her way to safety. Many of my friends react to danger in quick response. I am a person that sniffs out danger from a distance. Empathic. I sense energy around and don’t move into spaces that feel toxic. It’s a different way of sensing the world, moving through air, paying attention to earth. Taurus. Moon.

But what I really want to say is that it’s good to be home from the ocean. To be back in the Midwest. At least for a time. The ocean is constantly moving. The 40 mph wind gusts and driving rain against the beach house last weekend, nowhere near the category five of Michael a few years ago. So much did not survive. So many homes and trees destroyed, people living five years later in RVs on their land under carports. They have not rebuilt.

But people are resilient. A better word is flexible. Resilience is the fortitude to will your way back to the way things once were. That’s often not possible. Not after a hurricane. Not after a tornado. Not after a pandemic. Or an earthquake. Or war. So much suffering in this world. Flexibility is the ability to change. To flow into what is new and unfamiliar. Adapting to a world around you that is ever changing. I used to hate change. Too unpredictable, unfamiliar, disorienting. Now I try to embrace it, learning from the people around me. Some thrive on change. They are at their best when things are new and in flux. I am more of a reflector, like the Moon. 

 

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15-minute Writing Practice on Shells, written on an old iPad Mini 4, Saturday, February 18th, 2023

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Have You Enjoyed Your Life?

Georgia, Haiku, Bones, Minneapolis, Minnesota, iPhone Shots, on the Partial Solar Eclipse, April 30th, 2022, photo © 2022 by QuoinMonkey. All rights reserved.

Landscape – The Osprey

The walk along Boone Avenue skirts the edge of Northwood Lake, a shallow 15-acre section of the North Branch of Bassett Creek. I drive home from work through busy Twin Cities suburbs to avoid rush hour traffic. Liz moves the opposite direction down Boone on her daily walks. We meet in the middle. Last Wednesday I spotted her orange neon Nikes, index finger high to the sky, jousting the wind. I pulled over. “Do you see it, do you see it?” she said. “You’ve got to get out?!”

I put my hand up to visor my eyes. The raptor soared on the thermals, dipped over two great blue herons nesting in cattails, swooped above a pair of loons in the middle of the lake, glided over our heads, and rose again. Finally, her yellow eyes spotted her prey. We watched as she jettisoned underwater, talons first, splashed lean like an Olympic diver, arose with dinner, and flew away. In all the time we have lived here, this is the first we have spotted an osprey on Northwood Lake.

Osprey dive for fish from heights of 30 to 120 feet, plunging feet first, submerging their entire bodies beneath the water. Airborne again, they reposition the fish for streamlined transport so that the head faces forward. While underwater they close their third eyelid which acts like goggles to help them see clearly. Pairs return to the same nest year after year, each contributing to the structure of their home, much like we have during the pandemic. Raptors bring us great joy on our daily walks. Yet they are susceptible to a virus in the wild – the highly pathogenic avian flu (HPAI).

The answer is yes. I have enjoyed my life. But in the underbelly, I have thought long and hard the last few years about the reality of death. Pandemics. Viruses. Wars. Age. So many lost. My mother died in hospice at my brother’s a year ago in April. By some miracle, vaccinations had become available and we road tripped to Pennsylvania to spend her last weeks on Earth with her. She continues to teach us even in death.

Lineage – Root Teachers

The day of the osprey fell in the first week of whittling my job down to 32 hours, Fridays off. At the end of the year, I will no longer work my day job. In celebration, Liz presented me with a package, a surprise gift to mark new beginnings. We sat in Veronica, my aging 2006 red Mini-Cooper, windows open to spring. Liz smiled and slid a haiku book out from under her windbreaker — Diane di Prima. The 1967 version is a handprinted collaboration with her friend, artist George Herms. Each page presents like haiga. The cherry woodblock illustrations by George were originally printed on a cleaned up rusty press from the Topanga Playhouse that later became LOVE Press. He used an individual color for each print on Mohawk Superfine Eggshell White paper. I now own one of a thousand of the first bound editions of Haiku issued in 2019, commemorating the 50th anniversary.

The second gift from Liz was a set of Natalie Goldberg’s Writing Down the Bones Deck, a 2021 extension of her 1986 classic, Writing Down the Bones. (Have you enjoyed your life? is Card 51.)

The last time I saw Natalie in person was at a haiku workshop in Santa Fe at Upaya Zen Center in February 2020. I was able to briefly connect when we sat down at lunch. I told tell her how grateful I am for everything she has taught me. It’s a gift to have had the opportunity to see her again. On the layover flight back through Salt Lake City, I noticed one lone man wearing a surgical mask, a precursor of what was to come.

By March 2020, everything in Minnesota shut down. So much has happened in between. I worked in the field through the pandemic, where we masked every day and built nuts to bolts machines that filled vaccine bottles. Liz worked from home. We signed up for Zoom and joined Upaya as members. In 2022, Natalie co-taught a Upaya haiku workshop on Zoom where she read Diane di Prima’s haiku. We continue to know Roshi Joan Halifax and the Upaya community in virtual ways unimaginable two years ago. Our gratitude is boundless.

Life – Planting Seeds

The snake plant in the lead photograph was given to my mother Amelia Ernestine by my grandmother Della Elise in 1966 when our family moved from Georgia to Pennsylvania. When my mom died in April 2021, my sister Cassandra (named after great Aunt Cassie) and I split the plant in two. One half road tripped back to Minnesota with me; I named her Georgia. The other half my sister named Belvedere; she put down roots in an antique teapot on Cassandra’s kitchen window sill in Pennsylvania.

Georgia’s leaves stand tall against our north facing windows. She has seen some things, heard some things, traveled around the country. She is rooted to our family and has lived a long and joyful life. Twenty, thirty, forty years moves at light speed. We don’t know when our time will arrive. On my deathbed, I want to say I loved my life with its pitfalls and craters. I dig deep and look to the ancestors to show me the way.

-Written the weekend of the Taurus New Moon in a Partial Solar Eclipse, April 2022

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The Bardo

The Bardo, photograph by Debra J. Hobbs, © QuoinMonkey, August 15th, 2020.

I meant to do better. To take more Polaroids, roll more clay, shut up and write. But 2020 had other ideas. For my birthday in high summer, Liz gave me a new deck of cards — The Wild Unknown – Archetypes by Kim Krans. The art was created from the center of a dark night of the soul. I pull a card a week. Saturday, August 15th landed me in The Bardo. I was already there. What changed is my willingness to straddle the abyss, to sit in uncomfortable places — in this life and what I imagine to be the next.

In this life, a family member is recovering from COVID-19. Two long time friends are in treatment for cancer, maybe the fight of their lives. Two other friends buried their 6-month old kitten, lost to a disease of unknown origin. In this life, babies are born unseen by grandparents, couples are married on Zoom, people die unable to hold a loved one’s hand. In this life, cities explode, humans rumble and rattle, tired of gridlock, tired of the status quo.

In this life, last night we locked ourselves in the bathroom to the howls of tornado sirens and horizontal rain. In this life, we wear masks, cancel our travel plans, stack bookshelves to the top of 9-foot ceilings, rearrange our studio to hold Liz’s work-at-home office next to old Kodachrome slides and boxes of art supplies.

I am digging in. And expanding out. I am rattling old bones. Untangling ancient root systems. Beliefs are not truths. I am learning that denial is a form of grief. It’s not the Thing that is dead, but how I’ve been doing the Thing. Shine your light, luminous or liminal. That is the Leo energy of August 2020 (from Lindsay Mack’s August podcast, Tarot for the Wild Soul).

I meant to do better. Prayer flags wave against an overflow bookshelf above photographs of my great, great grandparents. I research the goddess Eris, sister of Ares, daughter of Night. I listen to old astrology tapes, a choir hymn hummed through face masks, the tingle of ghost chimes.

In the Bardo:

We may receive messages from those who are no longer with us or see visions of lives not yet lived. In the Bardo there is the potential to forgive the unforgivable, to say the unsaid, to see the unseen, to love the unloved, to let go of all the things that cause us pain. The Bardo suspends us in its spaciousness for just long enough to open us to higher wisdom. Its energy does not belong to the Earth as we know it, but rather to the Cosmic network of which we are a single thread.

—The Wild Unknown – Archetypes deck by Kim Krans

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December Bloom ∞ Looking Forward, Looking Back

December Bloom, Minneapolis, Minnesota, iPhone Shots, December 24th, 2019, photo © 2019 by QuoinMonkey. All rights reserved.

 

On Winter Solstice, after two years of dormancy and a flirt with death, the orchid bloomed. The Pacific Sunspots was a gift from Liz on a birthday that crossed decades. I remember opening the wrapper on the deck of Indria, our little cottage. We have moved into an apartment now, simplified our lives. The blooms fill me with joy.

But I have grown lax in my practices. We had been toying with the idea of meeting friends in Santa Fe this winter and signing up for a haiku retreat at Upaya Zen Center. On Christmas Eve, all the pieces came together. Plane tickets were reasonable and there were still openings. Liz and I texted our friends who were driving home from Christmas Eve dinner. We booked our flights and registered — we three were the last to sign up before the retreat was marked Full. The hair stood up on the back of our necks.

On the day after Christmas (at the New Moon Solar Eclipse), I juggled bins in the studio to try to set up a workable writing space. One old box was full of practice notebooks from Taos writing retreats. I pulled one off the top. It was marked October/December of 2006. The detail was mesmerizing; I had forgotten all the insecurities that surface in silence. It can be painful to sit with yourself.

There was a color photograph tucked into a card of a wintry gate near the pigeon roost at Mabel’s. I studied the faces of Natalie, Maria, and the 21 people who attended the four-season Intensive that year. Some have become teachers and grandparents, retired, or moved across country. Many have published their work. Several have passed on to the other side. What happens to our art and writing when we die?

I went back through the notebook with a yellow highlighter and revisited the words I had written at a different time in my life. There were writing practices about a trip to Georgia, a pilgrimage with my mother to research ancestry. We searched cemetery plots in the rain and finally found the overgrown grave of her step-sister who died shortly after birth (I’d like to turn these into a finished piece). There were practices of dribble where I never dropped down into my body. They offered up a study of the crazy minute-to-minute thoughts that go on in one’s mind.

There were writing practices about the ghosts in Mabel’s room, the four-poster bed Dennis Hopper wanted to cut up with a chainsaw, the dogs and coyotes I heard roaming the Taos wilderness at night. In the paper margins were notes on bell ringing, mudras, zafus, and zabutons, and a schedule of the day trip to the plaza and the O’Keeffe museum in Santa Fe. There was scratchy handwriting, sometimes barely legible, of erratic emotions and thoughts that spill on to the page when we stop talking.

I had forgotten so much; and remembered everything.

I’m excited for the possibilities of 2020: photography and practice, completing finished pieces, attending the haiku retreat in Santa Fe. It will be hard to drop into the discipline I once felt at the core. I could fail, but I have faith. When you look back a decade at your younger self, the creeping roots that once clawed their way into rich, black earth searching for nourishment spring forward like orchid tendrils in the sun — fortified aerial roots.

We were required to keep a log that year of our practices, a daily reminder of the commitment to ourselves and our writing. I’ll leave that practice from the old notebook in the comments below, a reminder from the ghosts of December past: Continue under all circumstances. Don’t be tossed away. Make positive effort for the good.

 

 

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Handwritten notes in my October/December 2006 practice notebook from dharma talks and one-on-ones with Natalie Goldberg. I am grateful for everything she has taught me. And for the community of artists, writers, and contributors who helped create redRavine. It is a place I can return to feel grounded.

• Follow the person behind you
• Everyone feels insecure. It’s just what happens when we sit.
• Rest. Make space.
• Don’t push. Let yourself be.
• Writing is manual labor of the mind.
• The best kind of structure should be organic.
• What can you be patient about? Make a list to remind yourself.
• Crash through what holds you back.
• Be willing to wait a long time for understanding.
• Show first. Then tell. Don’t give everything all at once.
• Don’t manipulate. Respect the reader. Slowly lead them where you want them to go.
• Read Siddhartha again. His total breakdown led to enlightenment.
• Push yourself to what you don’t know and make statements anyway. It pushes you into knowing.
• Sometimes you tell the writing. Other times, the writing tells you.
• You can’t just be a writer for a month. You have to be willing to go through the whole process, all of it.
• If you get stuck, go back to basics: I remember, I’m thinking about, What I see in front of me.
• Read Annie Dillard’s The Writing Life.
• Ride on the backs of the writers who came before you.
• You can’t read a poem enough times.
• Writing is about receiving. Sit still so you can receive.
• When you walk in the mist, you get wet. -Dogen

 

∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞

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Many Hopes Are Buried Here

 

By Marylin Biggs Schultz

 

Mary Dickens Biggs, grandmother of Marylin Biggs Schultz. Family photo, all rights reserved.

carved into granite
“many hopes are buried here”
broken hearts and lives

About this haiku: “As I begin to compose a haiku, I must appear to be drumming my fingers to a silent tune in my head, but those familiar with this poetic form, will know that I’m counting the syllables required in each line; 5-7-5. I hoped to use the inscription from my grandmother’s gravestone, and as fate would have it, there are seven. Here is my haiku for a dear one I never met but hold in love: Mary Dickens Biggs. (My father is the little boy barely visible in the back.)” -Marylin Biggs Schultz

–posted posthumously for Liz’s mother, Marylin Biggs Schultz                                  (May 21st, 1937 – September 5th, 2019)

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About Marylin: Marylin (aka oliverowl) was a freelance writer living in Wyoming. She wrote essays for a weekly column in the Ventura Star Tribune, collaborated with her grandson on two picture books for children, and wrote with the Cody Writers. Her previous pieces for redRavine include the travel essay Rollin’ Easy, a Writing Practice, Kindness, and two memoir pieces, Images From The Past  and Two Little Girls & A World At War.

In 2010, Marylin was published in the book, From the Heart — Writing in the Shadow of the Mountain, a collection of work from members of Write On Wyoming (WOW), a group of authors and aspiring writers living in northeastern Wyoming. Her contributions to From the Heart include two works of fiction, To Love Bertie Lou and The Appointment Book, and a collection of haiku, Seasons in Wyoming.

-related to post: haiku 4 (one-a-day) Meets renga 52

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Island Lake

Island Lake, Cromwell, Minnesota, iPhone Shots, October 16th, 2019, photo © 2019 by QuoinMonkey. All rights reserved.

We are out of the sauna followed by a dip in Island Lake. It’s the evening before we leave to travel home. We sit in black easy chairs in front of wall-length windows writing and working on photograph archives. Over the week we saw six pair of trumpeter swans, three common mergansers, one pair of eagles, and at least ten loons. A mature eagle just swooped down and flew in front of the window, then glided on through the birch.

“She’s here,” Liz said, looking my way. Our eyes lock. I feel my heart swell and break open in tears. We came to make space for grief, for the passing of Liz’s mom in September. Sadness is the other side of the joy I feel being here: walking in the autumn air, sitting on the dock listening to the cries of the loons, eavesdropping on a family of Canadian geese with Nikon binoculars. The goslings stay with the parents (who mate for life) for at least a year. Blood pressure is down, pores are clear, my heart beats low, even and steady.

We stopped to meditate on the one and a half mile walk around Loon Lake in Savannah Portage State Park. If I hadn’t portaged on canoe trips in the Boundary Waters and sank up to my knees in mud, I might not know what it’s like to carry a Duluth pack on my back, a canoe over my shoulders.

The Savannah Portage is part of history, a long, wet walk from Lake Superior near Duluth to an eastern bend in the Mississippi River just west of Big Sandy. Liz and I like to travel to places we haven’t been before. We are only a few hours from the Twin Cities; we had the lake all to ourselves. The reds and oranges of the maples are past peak, but the yellows of the birch and poplar are popping. Yellow. Soothing, bright, clear.

I am grateful for downtime. My gratitude list grew tenfold over the week. I know it’s a luxury to be able to take time off to grieve. After a loved one dies, the work-a-day world continues to churn. Mother Nature has given us solace. A place to sit on a glacial lake facing West, the direction of later life, the domain of sunsets, and oceans, and the sit bones of mountains.

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Grief Takes Many Forms (For Marylin)

View from Marylin’s, Cody, Wyoming, iPhone Shots, May 13th, 2019, photo © 2019 by QuoinMonkey. All rights reserved.

It was a month ago to the hour when my mother-in-law died. Liz was on her way back from a business trip in Tulsa, Oklahoma when her sister called. I was sitting by Lake Como in St. Paul, Minnesota about to eat my lunch when the phone rang. The Dallas airport echoed in the background; Liz’s voice was brisk but heavy. “Mom just passed away,” she said. “She went peacefully.”

Marylin had requested a bath the night before. Tracy, Liz’s sister and her mother’s caregiver, had gotten up, given her mother a bath, and was combing her hair when she stopped breathing. I could picture this because when Liz and I were in Cody, Wyoming in May, Liz brushed Marylin’s hair as she sat in her favorite chair by the window with a clear view of the bird feeders. When Liz was finished, Marylin gently closed her eyes, smiled, and seemed in total peace after a night of tumultuous dreams.

I miss my my mother-in-law; grief takes many forms. Marylin was like a second mother to me. She championed my writing like my own mother, Amelia, who supported my creative life even when it twisted, turned, and spiraled up and down. Marylin and Amelia never met, but felt a love and kinship to each other. They were there for Liz and I through courtship, dating, and marriage. They saw only our love for each other and the compatibility of our lives together; there was never any doubt. I will always be grateful for that.

A few weeks ago, Liz and I watched the documentary on writer Joan Didion, “The Center Will Not Hold” by her nephew Griffin Dunne. When the film ended we sat in silence and wept. Dunne uses intimate archival footage, photographs and on-camera interviews to document the span of Joan Didion’s life. Having lost her husband and daughter within the span of two years, Joan knows grief; it gnaws at her bones.

I know why we try to keep the dead alive: we try to keep them alive in order to keep them with us. I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead.

We are not idealized wild things. We are imperfect mortal beings, aware of that mortality even as we push it away, failed by our very complication, so wired that when we mourn our losses we also mourn, for better or worse, ourselves. As we were. As we are no longer. As we will one day not be at all.

-Joan Didion, The Year of Magical Thinking

After Liz called on September 5th, 2019, I could not finish my lunch. I sat in a Chevrolet Silverado staring at the lake, wondering at the breadth of Marylin’s spirit as it lifted skyward. The day was cloudy, the wind erratic and scattered. Summer was letting go.

Summer’s End, September 5th, 2019, iPhone Video, Rain Garden, Lake Como, St. Paul, Minnesota, video © 2019 by QuoinMonkey. All rights reserved.

Rest In Peace, Marylin. I miss the way you smiled and called me your daughter-in-love. I miss the depth of our conversations around writing, haiku, and politics. I miss the way you held Liz and me in your heart in a bubble of love. I miss your love of theater, your writing and your contributions to redRavine. I miss your optimism and the way you gave back to your community and the world around you. I know you are with your father, maybe running by the Pacific Ocean with Queenie, wild and free. I am a better person for having known and loved you. We will meet again.

-written October 5th, 2019 between 10:45 and 11:30 a.m. CST. Everything is in Divine and perfect order right now.

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PRACTICE — Willow – 10min

When my brother died last January, I started to walk the willows. It wasn’t until late July that I read our ancestors planted willows for the Dead. And if the branches form a shadow large enough for a grave, someone will die.

My brother was 60 years old. He had a chronic illness that finally got the best of him. There is something sad about a winter willow. In spring, their branches fade into yellows, ochres, and fluorescent lime. Rebirth.

At 8:35 p.m. my mother told me she felt my brother passing and started to cry. By 9 p.m., he was gone. She was miles away. She has the sixth sense. As kids we knew we couldn’t lie to our mother. She recognized the truth on a level we did not understand.

Now I understand. Because I have the sixth sense, too. An empath. Some call it intuitive. Maybe we all have the Gift. But some are more comfortable with it, push it further. You have to suspend disbelief, trust yourself, open to whatever may come.

I woke up this morning with a story in my head, a story about willows. Liz’s mom came into one of my dreams. She is 82 and transitioning in a small western town in Wyoming. We drove 1000 miles to visit her for ten days in May. It was the most intense ten days of my life. Spirits hovered in the air waiting to greet her on the Other Side. It didn’t matter if you believed they were there or not; every night they returned. Guardians, Angels, and people who had already passed, for better or for worse. Liz, her nephew, her sister, and I stood vigil. We banished those spirits who were not there out of Love.

Love. It’s about love in the end. And respect for those who have come before us. If you believe there is good and evil in the world, the Willow protects.

When I was a child of eleven or twelve, we moved from the Deep South to Pennsylvania. My new grandparents had a mature willow in their backyard that butted up against a cornfield. I would swing on the branches at a time when they were strong enough to hold the weight of my body and bones.

There is something I learned about Death this year: the Spirit has to bend, and be strong enough to hold the Soul’s weight.

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NOTE: 10 minute handwritten Writing Practice on WRITING TOPIC — WILLOW, the latest Writing Topic on redRavine.

 

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The Way Love Bends

Poem For My Father (the way love bends), Minneapolis, Minnesota, January 2015, © 2015 by QuoinMonkey. All rights reserved.

I found out about my father’s death from reading an obit. He died on Halloween. I wrote three poems on a Royal typewriter. I had not seen him in years; he never responded to my letter. It is a lesson in letting go. It is a lesson in blood ties, and ties through love. It is a lesson in the nature of human grief, something we may feel for that which was never ours.

-posted on redRavine, Sunday, January 11, 2015

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I-35 Bridge Memorial

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.

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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haiku for May

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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Gates Of Death — October Mandalas

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

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

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

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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After All Is Said & Done

Fire For The Autumn Equinox, Droid Shots, Minneapolis, Minnesota, October 2013, photo © 2013 by QuoinMonkey. All rights reserved.

What matters to her,
after all is said and done—

long walks in the rain;
sparks to light the blackened night;
a place to spread her ashes.

Embers — After All Is Said & Done, Droid Shots, Minneapolis, Minnesota, October 2013, photo © 2013 by QuoinMonkey. All rights reserved.

-posted on red Ravine, Saturday, October 12th, 2013

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On Death & Dying: In His Own Words

Walking The Bluff, last Midwest Writing Retreat, Lion’s Den Gorge Nature Preserve, Grafton, Wisconsin, March 2013, photo © 2013 by QuoinMonkey. All rights reserved.

Writing friends are hard to come by. Friends who are good practitioners of writing, even harder. The last time I saw Bob was at the Milwaukee airport in March 2013. He smiled and gave me a hug, then we walked to separate gates after five days of Sit, Walk, Write with Jude and Teri. We met many years ago at a Natalie Goldberg writing retreat in Taos, New Mexico. The Midwest Writing Group we formed has continued to meet every year since to practice writing. To honor silence.

For me, Bob was one of the pillars of our writing group. He held the space, led the slow walking, kept time when we wrote, engaged in lively discussions at the dinners he prepared. He was an excellent cook. I will never forget his laugh. Bob contributed work to red Ravine and continued to post practices with me after others fell away. I could count on him. Today, Sunday, August 4th, 2013 at 3:30pm, a memorial service for Robert Tyler Chrisman will be held at All Souls Unitarian Universalist Church, 4501 Walnut St., Kansas City, Missouri.

Bob Chrisman, born Robert Tyler Chrisman on May 3, 1952 in St. Joseph, Missouri, passed away peacefully Friday, July 12, 2013, at Kansas City Hospice following a massive stroke. He was surrounded by family and friends who sang to him until his final breath. When I was reading back through Bob’s writing on red Ravine, I realized we had done a Writing Practice together in 2011 on Death & Dying. I find comfort in his words:

__________________________________________________

Why all this focus on death at a time of year when the world screams with life and beauty? Why must death occur during these spring months when the earth bursts forth in new life and beautiful shades of yellow-green, when flowers of all colors open and scent the air, and when we can say, “Winter is gone for at least seven months”? Why?

Maybe all this life and beauty replaces the darkness and depression of the winter and I want no more of it. Give me life in all of its forms and beauty. I suffer enough during the winter and I’m over it, but I’m not, it seems.

I notice the beauty and revel in it because I know the bleakness of winter. Joy returns to my life because I know that the good times may not last forever. The friends I carry in my heart as the treasures of a lifetime will die. I must rejoice in their being while they are with me and not put that off for a change in the season or the approach of death.

How is it that the richness of life requires us to know the poverty of despairing times? Does it work like salt on cantaloup or watermelon? The saltiness makes the sweetness that much sweeter as death makes life more precious.

If I could stop death and dying, would I? No, I would let things happen as they must. I might even bring death to those I love earlier if they desired it, but that’s not my place in life. Sitting next to the bedside of a friend who’s dying makes me aware of the value of the time we had together and what a loss their death will be. If they must die (and they must), I can spend the final days and hours with them and carry them and those times in my heart until I pass from this earth.

-Bob Chrisman, excerpt from a 2011 Writing Practice on the WRITING TOPIC — DEATH & DYING.

___________________________________________________

GATE GATE PARAGATE
PARASAMGATE
BODHI SVAHA

Gone, gone, gone beyond
Gone completely beyond
Praise to awakening

-posted on red Ravine, Sunday, August 4th, 2013. I miss you, friend. And I carry you in my heart until I pass from this earth. I believe..

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Shoebox Photographs: Memories Of War

Memorial Day, Savage, Minnesota, June 2009, photo © 2013 by QuoinMonkey. All rights reserved.

Memorial Day, a somber remembrance of the men and women who gave their lives in U.S. wars. I am fortunate; I only know of one family member who died while fighting a war—my Uncle James. When I visited the Vietnam Veterans Memorial at its dedication, I did a rubbing of his name (Panel 20W – Line 32). And when I started blogging, I discovered the Vietnam Veterans Memorial website where I began leaving him messages each Memorial Day. Uncle James died seven months into his tour, in Binh Long, South Vietnam, a long way from his South Carolina home. This is the time I dedicate to him.

Yesterday, I listened to CBS Sunday Morning and was taken with Lee Cowan’s story of Charlie Haughey, a Vietnam war photographer. It reminded me of the importance of photographs to remembering the dead. During his service as a photographer in Vietnam, Charlie Haughey chronicled the daily life of soldiers in his battalion. When his tour ended, he dropped his nearly 2,000 photo negatives into a shoebox, and hid them away. Now, after 45 years, Haughey’s mesmerizing images of soldiers battling the physical and emotional hardships of war are seeing the light of day. You can see in his eyes, they still bring him pain.

To all of the fallen, and for Uncle James. Never forgotten.

-posted on red Ravine, Memorial Day, May 27th, 2013

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Cutting The Yule Tree

Yule Tree, Minneapolis, Minnesota, photo © 2012
by QuoinMonkey. All rights reserved.

No snow buried the ground the day we cut the Winter Yule. Huffing and puffing, we took turns severing trunk from tangled roots. Last summer we had a landscaper install a French drain that streams into the concave hollow of a rain garden we will plant next spring. The energy company marked the lines before digging; that’s when we discovered the blue spruce growing over our gas line. It would have to be removed.

In mid-December, I said to Liz, “Let’s make the spruce our Yule tree.” The handsaw wasn’t far behind. The tree is almost 4 1/2  feet tall with a wide berth that tapers to a slight curve at the top. She grew from a seedling, probably dropped by a songbird that made a pit stop on the mature spruce nearby. Trunk rings indicate that it took six years for this tree to grow 52 inches with a one and 1/2 inch base. Trees are slow and deliberate. They are the slow walkers of the forest.

Growth Rings, Minneapolis, Minnesota, photo © 2012 by QuoinMonkey. All rights reserved.

Tree lovers like Liz and I will travel great distances to see hardwoods, softwoods, evergreens, and conifers in their prime. We have visited the oldest red and white pines in Itasca State Park in northern Minnesota, birthplace of the Mississippi River. We have sweated under live oaks near Flannery O’Connor’s childhood home in Savannah, photographed an old gingko at the Minnesota Landscape Arboretum in Chaska, and attended a community gathering celebrating the life and death of a 333-year-old Burr Oak near the Franklin Avenue bridge in Minneapolis. On a trip to New Mexico, I stood under the Lawrence tree painted by Georgia O’Keeffe at Kiowa Ranch. In Georgia, my mother and I talked family history under a ginkgo by the Old Government House that was planted in 1791 in commemoration of a visit by George Washington.

Saw, Minneapolis, Minnesota, photo © 2012 by QuoinMonkey. All rights reserved.

Trees are important to the spiritual aspect of our lives. I can’t imagine a world without trees. Today we celebrate the longest night of the year, Winter Solstice. Tuesday we will celebrate Christmas. The blue spruce in our living room leaves an empty space in the garden. Though wistful when she fell, I am joyful that she gleams from our living room window at the darkest time of year. And that her summer-dried bark will be kindling for next winter‘s Solstice fire.

Home Grown Tree, Droid Shots, Minneapolis,
Minnesota,photo © 2012 by Liz Schultz.
All rights reserved.

-posted on red Ravine, Winter Solstice, December 21st, 2012

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Dragonfly

By Marylin Schultz

Dragonfly, Cody, Wyoming, photo © 2012 by Tracy Clark. All rights reserved.

Dragonfly

No audible cry do I hear,
but am drawn to see your plight
mired in mud, frozen there.
I offer a small branch of hope.

luminous lapis blue eyes
recognize reprieve in faceted lens,
delicate pattern of wings against
sky and soft distant mountain.

Freed from earthy prison,
this was not your final sunrise
after all.

On my morning path
as though resigned to her fate
patiently waiting.

_________________________

About Marylin: Marylin (aka oliverowl) is a freelance writer living in Wyoming. She has written essays for a weekly column in the Ventura Star Tribune and collaborated with her grandson on two illustrated books for children. She currently writes with the Cody Writers. Her previous pieces for red Ravine include the travel essay Rollin’ Easy, Writing Practices Kindness and Cloud, and two memoir pieces, Images From The Past, and Two Little Girls & A World At War.

In 2010, Marylin was published in the book, From the Heart — Writing in the Shadow of the Mountain, a collection of work from members of Write On Wyoming (WOW), a group of authors and aspiring writers living in northeastern Wyoming. Her contributions to From the Heart include two works of fiction, To Love Bertie Lou and The Appointment Book, and a collection of haiku, Seasons in Wyoming.

-related to posts: dragonfly revisited — end of summer, first dragonfly, Flying Solo: Dragonfly In Yellow Rain , Dragonfly Wings — It Is Written In The Wind, Shadow Of A Dragonfly, haiku 4 (one-a-day) Meets renga 52

-posted on red Ravine, Friday, November 23rd, 2012

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