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EarthHealer — Mandala For The Tortoise – 12/52, BlackBerry 52 – WEEK 12, March 26th, 2011, photo © 2011 by QuoinMonkey. All rights reserved.


Medium: Drawn by hand with a black Staedtler archival pigment ink Fineliner on Canson Mix Media XL Series 98lb drawing paper. Colored with Faber Castell 6 PITT Artist Brush Pens, DecoColor Glossy Oil Base Paint Markers, Portfolio Water Soluble Oil Pastels, Caran D’Ache NeoColor II Water Soluble Wax Crayons, Sharpie Medium Point Oil-Based Opaque Paint Markers. Photograph taken with a BlackBerry Tour.


EarthHealer is a tribute to Turtle and her grounding and healing place in the world-wide celebration of Earth Hour on March 26th (here’s my photograph from Earth Hour 2010). It is also my contribution to the collective healing energy of Earth Day coming up on April 22nd, 2011. The mandala was inspired by Hope Among The Rubble, the Week 12 BlackBerry 52 Jump-Off from Lotus, and Tortoise Highway from Seattle poet Teresa Williams. The Tortoise has long been a symbol of the Earth across many cultures, from Ancient times through current day. She is strongly related to the New Moon, the direction North, and the element Earth in Mandala For The 5th Element — The Role Of Ritual In Our Lives.

I researched the differences between turtles, tortoises, and terrapins and found a detailed article on the San Diego Zoo website: Reptiles: Turtle & Tortoise. All three are reptiles. However, turtles spend most of their lives in water and have webbed feet. Tortoises are land-dwellers with short, stumpy legs. Terrapins live on land and in water and are most often found in the brackish, swampy areas near rivers, lakes, and ponds. Some cultures use the words interchangeably. For the purposes of this piece, I consider the Turtle, the Tortoise, and the Terrapin keepers of the Earth, representative of:

  • Slowing Down: standing still, slow walking, staring out the window; nurturing ideas, holding creative seeds in the belly until the time is right to share them; all good things come in time
  • Home as Water & Earth: learning to connect to both, to be fluid, yet grounded. Turtles spend most of their lives in water; tortoises are land dwellers; terrapins live on land and in water.
  • Protecting with Turtle’s Shell: learning how to use protection; teaches good boundaries. Turtles and tortoises have hard, protective shells (part of their skeleton) that are made up of 59 to 61 bones covered by plates called scutes.
  • Motherly Compassion: the Mother Goddess, the cycle of give & take, empathy for others
  • Giving Back to the Earth: as she has given to us. Expressing gratitude for what we have.


Every day I am moved and energized by the comments, deep conversations, and collective energy of our contributors and readers from all over the world. I feel so much gratitude for community and those who give of themselves in service to help tip the world a little more upright on its positive axis. You give me hope. Deep bow.


Searching for Hope Among the Rubble ("Hope Among the Rubble")

Hope Among The Rubble by Lotus, 12/52, BlackBerry 52 – WEEK 12, March 24th 2011, photo © 2011 by A~Lotus. All rights reserved. Medium: Word Cloud created on Wordle using 3 different articles. Text manipulated by adding HOPE. Final touch up in Adobe Photoshop CS2.


Earth Turtle (Detail)

-posted on red Ravine, Sunday, March 27th, 2011. Read about ybonesy’s adventures with turtles over the years at In Praise Of Nature & Garage Sales and Novelty Pets.

-related to posts: Best Of BlackBerry 365 — First Quarter SlideShow, BlackBerry 365 Project — White Winter Squirrel, Flying Solo — Dragonfly In Yellow Rain, Searching For Stillness, icicle tumbleweed (haiga) — 2/52, The Mirado Black Warrior, Waning Moon (Haiga), The Void — January Mandalas, haiku 4 (one-a-day) Meets renga 52, Alter-Ego Mandala: Dreaming Of The Albatross (For Bukowski), WRITING TOPIC — SLOW OR FAST?

Lotus and I will continue our call and response by posting a BlackBerry photo for the 52 weeks of 2011. Feel free to join us if you wish (learn about the project’s beginnings at BlackBerry 52 Collaboration).

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Mandala For The 5th Element - 10/52

Mandala For The 5th Element – 10/52, BlackBerry 52 – WEEK 10, March 13th,
2011, photo © 2011 by QuoinMonkey. All rights reserved.

Medium: Drawn by hand with a black Fine Line DecoColor Opaque Paint Marker on Canson Mix Media XL Series 98lb drawing paper. Collaged & colored with Faber Castell 6 PITT Artist Brush Pens, DecoColor Glossy Oil Base Paint Markers, Portfolio Water Soluble Oil Pastels, Caran D’Ache NeoColor II Water Soluble Wax Crayons, Sharpie Medium Point Oil-Based Opaque Paint Markers, Lineco Archival PVA Adhesive, yellow felt letters, metal fastener, archival card stock paper. Photo taken in streaming sunlight on a BlackBerry Tour.


At 6:20 CST on March 20th, 12 hours and 9 minutes of light welcomed Spring to the Midwest. Seasonal rituals are important to our spiritual health. Honoring cyclical changes in the seasons is one way to stay grounded. We delved into daily and superstitious rituals in one of the first Writing Topics on red Ravine. Animals engage in rituals to feed themselves and hibernate, to define and defend their territories; humans do, too. Rituals comfort me in times of loss and uncertainty — walking a labyrinth, creating a mandala, or celebrating the Spring Equinox.

My first response to Cityscape: Behind The Gray in the BlackBerry 52 collaboration with Lotus, was that it captured a late winter mood. The second time I viewed the photo was March 11th, after the earthquake and tsunami in Japan. Everything changed. I saw Every City, Every Town in her photograph — a skyline, a parking lot of white cars, minutes away from being tossed on the sea like toys. I felt helpless, sad for the collective suffering, for the families living through the devastation.

It was about that time that I learned about terma in Tibetan Buddhism — physical objects, texts, or ritual implements that are buried in the ground (Earth), hidden in a rock or crystal, secreted in an herb or tree, hidden in a lake (Water), or up in the sky (Air), elements that contain sacred teachings, accessible to all when we need them (Essence). Mandala For The 5th Element followed; the center is the symbol for Essence, also symbol for the Sun.

One night at the studio, while collaborating on Obsoletion Blues, an art project for Strange Attractors, I ran across an old article I had copied years ago at MCAD — The Art of Ritual. I read it, remembered the Akashic Records (akasha is a Sanskrit word meaning sky, space, or aether) — source of mystical knowledge, the collective unconscious, the history of the Cosmos. Perfectly in sync, readers began commenting on the same subjects in our daily haiku post. From annie:

I first came across termas when I read Thinley Norbu’s book ‘Magic Dance’. He describes, poetically, exotic tales of the ‘five wisdom dakinis’ (earth, air, fire, water and space/ether). These five dakinis manifest the feminine wisdom energy, bringing strength, power and transformation to our lives. They are known collectively as ‘Sky Dancers’ who dance in limitless space and are the writers of the termas, which they conceal until the time is right for them to be found. Their form of writing is ‘subtle and mysterious’ and the being who finds the terma must call on the five wisdom dakinis to help them interpret it (they also reside in the mind). I like the similarities of the elemental archetypes of Buddhism and Celtic Paganism. It brings it closer to home.



The Five Elements

______________


FIRE — SOUTH

Summer, Youth, Midday, Full Moon, Intuition

ELEMENTAL CORRESPONDENCES: Flames, Red, Point, Combustion, Energy, Passion, Desire, Inspiration, Beginning, Energy, Individual

OBJECTS:
fire, flame, candles, lamps, fireplaces, torches, matches, sparklers, fireworks, triangular shapes
Foods: hot-spiced foods, cayenne, salsa, Tabasco, curry, hot foods & drinks
Clothing: light and warm
Scents: sharp, tangy smells like cinnamon, odors from a fire

ACTIONS:
darting, rapid movements
lighting a fire or candle, burning or sacrificing

COLORS:
reds, oranges, yellows
bright, direct light, steady like the noon sun, or a flickering fire, or candle-light

SOUNDS:
arpeggios, staccato rhythms
the crackling of a fire, violins and other high-pitched strings, soprano instruments
inflaming speeches, stating an intention, invocations, appeals to the Spirit


______________


AIR (WIND) — EAST

Spring, Infancy, Dawn, Crescent Moon, Thinking

ELEMENTAL CORRESPONDENCES: Bell, Incense, Blue, Line, Gas, Mind, Communication, Study, Planning, Merging, Creation, Mental, Relationships

OBJECTS:
air, wind, round shapes, feathers, fans, incense, pinwheels, books, pens
Foods: light desserts, puff pastry, champagne, sparkling drinks
Clothing: light and free-fitting
Scents: clear and delicate scents

ACTIONS:
quick, light motions
lifting up or offering up
speaking or reading

COLORS:
sky blue, blues, whites
bright but indirect light, increasing in intensity, electric lighting
the morning sun

SOUNDS:
sound itself
clear, high-pitched tones; rapid, precise, light rhythms
the rushing wind, rustling sounds
wind chimes, flutes and woodwinds, rattles, bells or drums
speech and laughter, words that direct thoughts, appeals to reason and logic


______________


WATER — WEST

Autumn, Middle Age, Evening, Waning Moon, Feeling

ELEMENTAL CORRESPONDENCES: Cup, Silver, Plane, Liquid, Feeling Emotion, Integration, Process, Cycle, Deepening, Feeling, Family

OBJECTS: water, cups, liquid containers, crescent shapes, seashells, starfish, fish, dolphins
Foods: libations, clear broths
Clothing: smooth, flowing textures of materials such as silk
Scents: rain, sea air, water lilies

ACTIONS:
fluid, graceful, rhythmic motions
actions that denote giving and receiving aspects of water: pouring, drinking, washing
dancing, swaying

COLORS:
blues, blue-greens, silvers
filtered, indirect light, gently changing
twilight

SOUNDS:
melodious, flowing
rhythmic chanting, rushing water, waves, rain
vibraphone, harp, rhythm section, alto pitch
poetry or singing, speech that appeals to the emotions


______________


EARTH — NORTH

Winter, Old Age, Night, New Moon, Sensation

ELEMENTAL CORRESPONDENCES: Disc, Cube, Earth Tones, Solid, Body, Affection, Application, Product, Ending, Manifestation, Action, Group

OBJECTS: solid, sturdy objects of cubes, globes, squares, stones, metals, crystals, wood
Foods: breads, grains, meat, fruits, mushrooms
Clothing: coats, capes, rough mottled textures such as wool
Scents: heavy, musky odors, the smell of earth, forest floor, baking bread

ACTIONS:
stillness, slow, steady deliberate motions
lying, sitting, squatting
digging, planting harvesting
eating, ingestion, digestion
moving to each of the four quadrants of the circle

COLORS:
earth tones: browns, blacks, russets, olive greens, yellows
darkness or dim, steady light
nighttime

SOUNDS:
silence, the pause between sounds
low, deep tones; slow steady rhythms
bass instruments, drum, fiddle, oboe, tuba
speech that refers to body, the world, actions


______________


ESSENCE  — ALL AS ONE

Everything Is Connected, The Ethers, Life Force, Energy That Permeates All of Nature, Wholeness, Unity of Self, the World

ELEMENTAL CORRESPONDENCES: Circles, Mandalas, Altars, the Sun, Labyrinths, Centers, Balancing Points, the Bindu (point of origin and return)

OBJECTS: central altar, candle, lantern, lamp, cauldron, the ritual circle

ACTIONS:
standing in the center of a circle or labyrinth
holding hands in a circle, prayer chains
recognizing life force energy — prana, chi, ether, Akasha, Spirit, God, Tao (to name only a few)

COLORS:
brightness, light itself, the speed of light

SOUNDS:
sounds of pitch higher than human hearing
solitary clear soprano note, a choir’s single voice, monks chanting
instruments with a lingering echo, Tibetan bells
in speech, giving thanks for what has been received from Spirit through invocation


______________


I posted excerpts from that old MCAD library book (The Art Of Ritual) containing lists of objects, foods, actions, smells, and sounds to remind me to engage all of the senses, and in turn, each of the 5 Elements. Keep in mind that directional correlations and colors may vary from culture to culture, depending on what books you reference.

What rituals help you to heal or feel connected to the world at large? How do you integrate human suffering and pain into day-to-day life. What symbols help you to heal and grow, to come to terms with death and loss, to create balance in your life. For me, art and writing open doors to other worlds


The essence of ritual is that something done in the physical realm is related to the higher worlds. This may be a simple gesture of the hand or an elaborate ceremony. It can be working consciously in everyday life, so that quite mundane actions become full of meaning, or a carefully designed ritual acted out for a specific occasion…Ritual is the mode of formalizing action and giving it not only meaning, but creating a contact with other worlds.

—Halevi, School of Kabbalah

Mandala For The 5th Element (Detail)


-posted on red Ravine Monday, March 21st, 2011

-related to posts: Functioning Ego — August Mandalas (Goethe & Color), Flying Solo — Dragonfly In Yellow Rain

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self mandala auto

Alter-Ego Mandala: Dreaming Of The Albatross – 8/52 (Gogyohka), 8/52, BlackBerry 52 – WEEK 8, February 27th 2011, scan © 2011 by QuoinMonkey. All rights reserved.

Medium: Drawn by hand with a black Ultra Fine Point Sharpie & Sharpie Peel-Off China Marker on Canson Mix Media XL Series 98lb drawing paper. Colored with Faber Castell 6 PITT Artist Brush Pens, DecoColor Glossy Oil Base Paint Markers, Portfolio Water Soluble Oil Pastels, Caran D’Ache NeoColor II Water Soluble Wax Crayons, Sharpie Medium Point Oil-Based Opaque Paint Markers.



alter-ego
1530s, from Latin phrase (used by Cicero), “a second self, a trusted friend” (cf. Gk. allos ego); see alter and ego.



A second self, a trusted friend. Or a dark half that emerges when we least expect it — in art, writing, and poetry. When I viewed Never (Found Poem) from Lotus, inspired by Charles Bukowski’s work The Continual Condition, these were the lines that resonated for me:


Our problem is
that we divorce ourselves
from ourselves


howling
and scratching their bellies,
and dreaming of the albatross.


I looked in the mirror. I started drawing. An outline emerged, a person I vaguely recognized. The longer I drew, the more familiar the image, the less it looked like me. An alter-ego. I went to the studio, pulled out the Royal typewriter Liz bought for me at a garage sale (turns out, it’s French), and while Jimi Hendrix’s Rainbow Bridge played on the stereo turntable, wrote a gogyohka:


self poem

Rock, Paper, Scissors – 8/52 (Gogyohka), 8/52, BlackBerry 52 – WEEK 8, February 27th 2011, scan © 2011 by QuoinMonkey. All rights reserved.

Medium: typed on Crane paper stock with vintage Royal typewriter. Scanned as TIF, saved as JPEG.


I’ve long been a fan of Charles Bukowski’s work. He was the kind of poet that didn’t pull any punches. He was born in 1920 in Andernach, Germany, lived hard, knew how he would die, wrote about the veneer that crumbles over the steely hardness. He wrote to the end, died of leukemia on March 9th, 1994 and is buried at Green Hills Memorial Park in Rancho Palos Verdes, near his home in San Pedro, California.

It is the honesty in his work I am drawn to. After I read Never (Found Poem), I saw that a reader had left a link to all things Bukowski. I was surprised to find a whole page of his artwork, dotted with self-portraits. Bukowski’s portrait paintings and Never (Found Poem) from Lotus sparked the mandala. The quote stoked the fire:


The difference between life and art is art is more bearable.
— Charles Bukowski




Typewriter Revisited - 8/52



-posted on red Ravine, Saturday, March 5th, 2011

-related to posts: Best Of BlackBerry 365 — First Quarter SlideShow, BlackBerry 365 Project — White Winter Squirrel, Flying Solo — Dragonfly In Yellow Rain, Searching For Stillness, icicle tumbleweed (haiga) — 2/52, The Mirado Black Warrior, Waning Moon (Haiga), The Void — January Mandalas, ybonesy’s self portrait (part of her Farewell To red Ravine)

Lotus and I will continue our call and response by posting a BlackBerry photo for the 52 weeks of 2011. Feel free to join us if you wish (learn about the project’s beginnings at BlackBerry 52 Collaboration).

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Lunar New Year Postcard 2011 (Side B)

Lunar New Year Postcard 2011 (Side B), 6/52, BlackBerry 52 – WEEK 6, February 7th 2011, photo © 2011 by A~Lotus. All rights reserved. Medium: E-Postcard created using MS Word 2007, Adobe Acrobat, & Adobe Photoshop CS2. Photo taken on Canon PowerShot A550. Digital Collage (Side B): Text by Lotus, clipart of lanterns from MS Word 2007, Lotus icon: from oceancurrents, QuoinMonkey icon: Chartres Cathedral labyrinth from inside the front cover of Alice Walker’s The Same River Twice.


I was delighted to receive this digital postcard collage from Lotus last night. It’s the BlackBerry 52 Jump-Off for Week 6, and the inspiration for whatever response rises to the top by the end of the day on Sunday.


Dear Lotus,

I’d love to know more about your experience of the Vietnamese Lunar New Year celebration. I am a Moonchild, and after receiving your card, I researched a little bit about Tết Nguyên Đán (also known as Tết). I wonder if it ever came up in the comments on ybonesy’s many posts about her journeys to Vietnam.

I read that the Lunar New Year falls on the New Moon, the first day of the first month of the Lunar calendar (around late January or early February), and is the same day as the Chinese New Year. Yet according to the Vietnamese Community of Minnesota site, 2011 is The Year of the Cat; for the Chinese, it is The Year of the Rabbit. It must be a season that has to hold both.

With two cats on the couch and a resident rabbit in the yard, I’d be happy to honor either. I did happen to be in San Francisco one year for the Chinese New Year. We stood on Market Street and watched the parade. It was a wonderful evening full of bright color and light. I wonder what happened to those photographs.


Lunar New Year Postcard 2011 (Side A)

Lunar New Year Postcard 2011 (Side A), 6/52, BlackBerry 52 – WEEK 6, February 7th 2011, photo © 2011 by A~Lotus. All rights reserved. Medium: E-Postcard created using MS Word 2007, Adobe Acrobat, & Adobe Photoshop CS2. Photo taken on Canon PowerShot A550. (Side A): Origami paper, glue, & masking tape. Origami by A~Lotus (Chrysanthemum Kusudama model by Tomoka Fuse).


Your origami is beautiful. How did you come to it as an art form? And the weather. In Texas, an unexpected blizzard on Super Bowl weekend. In Minnesota, -11 last night to be followed by dips into the 40’s next week. Hardly a day goes by when I don’t mention the weather in my journal. Peeling the onion. Do the layers ever stop unwinding? Whatever it is that lies at the core, I have never stopped seeking.


Thank you for your postcard,

QM


_______________


We will continue our call and response by posting a BlackBerry photo for the 52 weeks of 2011. Feel free to join us if you wish (learn about the project’s beginnings at BlackBerry 52 Collaboration). To read more about Lotus, visit her at alotus_poetry on Twitter (where she writes poetry every day in community with other Twitter poets), at Poetry By Lotus, and on her Flickr account.


-related to posts: Best Of BlackBerry 365 — First Quarter SlideShow, BlackBerry 365 Project — White Winter Squirrel, Flying Solo — Dragonfly In Yellow Rain, Searching For Stillness, icicle tumbleweed (haiga) — 2/52, The Mirado Black Warrior, The Dying Art Of Letterwriting (Postcards From The Edge)

-posted on red Ravine, Thursday, February 10th, 2011

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IMG_9115 trim done

Flying Solo (Dragonfly Mandala (Haiga & Collage), 4/52, BlackBerry 52 – WEEK 4, January 30th 2011, photo © 2011 by QuoinMonkey. All rights reserved.

Medium: Drawn by hand with a black Ultra Fine Point Sharpie on Canson Mix Media XL Series 98lb drawing paper. Collaged & colored with Faber Castell 6 PITT Artist Brush Pens, DecoColor Glossy Oil Base Paint Markers, Portfolio Water Soluble Oil Pastels, Caran D’Ache NeoColor II Water Soluble Wax Crayons, Lineco Archival PVA Adhesive, archival card stock paper. Poem by QuoinMonkey. Photo taken on Canon PowerShot G6 camera.






Prehistoric wings, 60 seconds, 30 beats
flying north to south. Darting mosquitoes
chase mayflies — things are not what they seem.
Magic hides, mists of illusion;
dragonfly in yellow rain.






I feel a kinship to Dragonfly; I first wrote about her shadow in May 2007. In the Summer of 2010, dragonflies filled our gardens. I spent a hot July day kneeling on one knee, contorting the body so I could get my BlackBerry close enough to capture the veined wing.

Dragonfly wings carry golden drops of magic. In Dragonfly Wings — It Is Written In The Wind, I wrote about the meaning of Dragonfly in the Medicine cards. During The Sketchbook Project, Dragonfly resurfaced in a Bone & Moon Series of loose sketches; I wanted to recreate the drawings in mandala form. When I saw Through the Rain-Studded Screen (haiga), the Jump-Off from Lotus for Week 4, I connected to the rain, and wondered what it would be like for a dragonfly to navigate through a downpour. The response — Dragonfly in Yellow Rain.

In BlackBerry 52, we will continue our call and response by posting a BlackBerry Jump-Off photo every Monday for the 52 weeks of 2011. Feel free to join us if you wish (learn about the project’s beginnings at BlackBerry 52 Collaboration).


-posted on red Ravine, Sunday, January 30th, 2011

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Searching for Stillness

Searching For Stillness (Haiga Collage), 3/52, BlackBerry 52 – WEEK 3, January 22nd 2011, photo © 2011 by A~Lotus. All rights reserved. Medium: Origami paper, stickers, Elegant Writer calligraphy markers, color pencils, Fiskars Paper Edgers scissors, color lithograph on card stock by Ota Saburo (cutout from a 2011 planner). Poem & origami cranes by A~Lotus. Photo taken on Canon PowerShot A550 camera.


Hard to believe, but we are already into the 4th week of January. A~Lotus created the beautiful haiga collage Searching For Stillness in response to the BlackBerry 52 Jump-Off for Week 3, The Mirado Black Warrior. You can read more about her process of creating the collage on her post #aros: 30th Stone; BB 52 Collaboration (and see the Jump-Off for Week 4).

We will continue our call and response by posting a BlackBerry photo for the 52 weeks of 2011. Feel free to join us if you wish (learn about the project’s beginnings at BlackBerry 52 Collaboration). To read more about Lotus, visit her at alotus_poetry on Twitter (where she writes poetry every day in community with other Twitter poets), at Poetry By Lotus, and on her Flickr account.


-posted on red Ravine, Tuesday, January 25th, 2011

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

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by Teri Blair



Home of Emily Dickinson, Amherst, Massachusetts, October 2010, all photos © 2010-2011 by Teri Blair. All rights reserved.



On October 30th, 2010, I stood in a room I had wanted to be in for years. It had a bed, a desk, a dresser, a lantern, a basket, and huge windows. From this second story perch Emily Dickinson composed her wonderful, strange, profound poetry.

IMG_0656 window

Emily was born in the same house where she died. And with the exception of a few trips and a little schooling, she never ventured from her hometown. Ever. She lived for 55 years, becoming increasingly reclusive the older she got. She published seven poems under pseudonyms while she was alive, poetry that went practically unnoticed. It wasn’t until she died that the big discovery was made. Emily’s sister was cleaning out her bedroom dresser and found nearly 1800 poems in the bottom drawer. They were written in handmade booklets and on scraps of paper.

Four years after her death, Emily’s first volume of poetry came out and she was famous. Now, 124 years later, she is considered one of the most influential American poets; her work has never been out of print.


IMG_0658 ANNA

I drove to Amherst, Massachusetts with my niece, Anna. We pulled up to Emily’s house on Main Street, an impressive yellow brick surrounded on two sides by massive gardens. The moment we stepped onto this National Historic Site, I was looking for clues of how Emily did it. Was she simply brilliant, or was there some evidence of influence? Our tour guide told us that as soon as Emily’s first book came out, speculation about her largely private life began, speculation that has never stopped.

They honor Emily by sticking with the facts, only the things that are authenticated. I am compelled to do the same, simply observing some habits that made up part of her writing life.





A Period of Woolgathering


When Emily was 10, her family moved temporarily to a different house in Amherst. Her bedroom faced the town graveyard, and during those next impressionable years, she watched hundreds of horse-drawn funeral processions.

When she was 19, her father gave her a puppy she named Carlo. For the sixteen years of her dog’s life, they explored the woods and fields of Amherst together. Emily made extensive collections from what she found outside on these long hikes.

Contemplating death and observations of nature run heavily through Emily’s poetry.


IMG_0651 porch


Writing Practices


Emily was a voracious reader. Her family received daily newspapers and several magazines, all of which Emily read cover-to-cover. She read poets; Keats and Browning were two of her favorites.

She wrote at night by lamplight. Moonlight walkers consistently saw a light burning in Emily’s window. They didn’t know what she was doing. Though there were virtually no external rewards for her work, she kept writing. An internal force propelled her.


Simplicity


Emily’s life was very simple; there were few distractions.

She had only a handful of family and friends, and kept in touch with most of them through letter writing.

She baked. She read. She wandered through her gardens. She lowered baskets of gingerbread to her nephews and niece from her window. And at night…she wrote in her bedroom by lamplight.


♦     ♦     ♦


After the 90-minute tour, we were allowed to wander through the house alone at our own pace. Anna and I both gravitated back to Emily’s room. We sat on the floor, stood by the windows; we looked at each other across the room.

Can you believe we’re standing here, I asked Anna. She smiled and shook her head no. We kept looking at each other, smiling and shaking our heads because we knew. There was nothing more to say; and we could both feel the pulse of what had happened within those four walls.


IMG_0654 From The Garden Large

View of Emily’s From The Garden, Amherst, Massachusetts, October 2010, all photos © 2010-2011 by Teri Blair. All rights reserved.


When Emily died, the funeral was held in the library of her house. At her request, six Irish immigrants carried her casket from the house to her grave. She asked her sister to burn the thousands of letters she had amassed.

But she didn’t say a word about the poems in the bottom drawer.

Emily’s brother and his family lived in the house on the far edge of her garden. One time Emily’s niece, Martha, came into her room with her, and Emily pretended to lock the door so no one could get in.  She looked around the room—at the writing desk, lamp, and paper. “Martha,” she said, “this is freedom.”



“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –

And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –

I’ve heard it in the chillest land –
And on the strangest Sea –
Yet, never, in Extremity,
It asked a crumb – of Me.


-Emily Dickinson c. 1861 from The Pocket Emily Dickinson,
Edited by Brenda Hillman, Shambhala Publications, 2009.



IMG_0670 in memoriam



About Teri: Teri Blair is a freelance writer living in Minneapolis and founder of the Poetry & Meditation Group of which QuoinMonkey has fondly and frequently written. (See Letter From Poet Elizabeth Alexander for the last post on the group and Teri’s piece titled Desire And A Library Card — The Only Tools Necessary To Start A Poetry Group for a step-by-step on how to start your own.)

 

Teri’s first red Ravine guest post, Continue Under All Circumstances, was written on the road during a 2007 trip to Holcomb, Kansas. She journeyed back to Holcomb in 2010 and wrote a sequel, Back To Holcomb, One Last Time. Her last piece for red Ravine, Discovering The Big Read, is about the largest reading program in American history. Its mission is simple: to restore reading to the center of American culture.

Teri will be spending the month of February at the Vermont Studio Center, writing, walking, and finding inspiration by the Gihon River in the heart of the Green Mountains.

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IMG01418-20110112-2157Things That Changed Other Things

IMG01417-20110112-2156 autoIMG01397-20110111-2105 auto

Confidential (Open), Things That Changed Other Things, The Sketchbook Project, Musk Ox Moon, pages from the Moleskines of Liz Schultz & QuoinMonkey for The Sketchbook Project, January 2011, photos © 2011 by QuoinMonkey. All rights reserved. Medium: Portfolio Brand Water-Soluble Oil Pastels, Prang Metallic Markers, Uni-ball Signo 207 Rollergels, Letter Stamps, Ink, Caran D’Ache NeoColor II Swiss Made wax crayons, Black & Silver Sharpies, digital photo, gesso, sticker, water, Moleskine.


Liz and I signed up for The Art House Co-Op Sketchbook Project months ago. This week we are working furiously to put the finishing touches on our Moleskines. We’ll postmark the journals by January 15th and they will be on their way to a permanent collection at the Brooklyn Art Library. But that will be after touring the U.S. with all of the other 28,835 artists from 94 countries around the world who submitted their journal art. The tour starts March 2011.

I snapped a few in-process BlackBerry shots but they don’t do justice to the vibrant colors or feel of the original pages. Tomorrow night I’ll get out the Canon and document every page, because the journals won’t be returned. It’s a lesson in letting go. One recent addition to our art materials (thanks to ybonesy’s detailed post on journals) are the Caran D’Ache NeoColor II Swiss Made crayons. I like mixing them with oil pastels. They work well with a brush and water.

Liz and I chose different themes for our Moleskines. I am working with Lights In the Distance; she chose Things That Changed Other Things. Photography lends itself to light, so I included original light-related photos and a series of Moon sketches. Liz worked with original photographs, poetry, and collage. She helps motivate me to experiment with new materials. It’s been a long time since I kept a sketchbook, so it’s been fun to work on this project together. Though I wish I had not waited quite as long to finish up the details. Deadlines motivate!

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Rabbit Ears, Dragon Moon, Life Is Short, Art Long, pages from the Moleskines of Liz Schultz & QuoinMonkey for The Sketchbook Project, January 2011, photos © 2011 by QuoinMonkey. All rights reserved. Medium: Portfolio Brand Water-Soluble Oil Pastels, Prang Metallic Markers, Uni-ball Signo 207 Rollergels, Letter Stamps, Ink, Caran D’Ache NeoColor II Swiss Made wax crayons, Black & Silver Sharpies, digital photo, magazine pages, discarded faxes, gesso, sticker, water, Moleskine.


-posted on red Ravine, Thursday, January 13th, 2011

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Bamboo Morning (Haiga)

Bamboo Morning (Haiga), BlackBerry 52, Jump-Off – Week 2, January 10th 2011, photo © 2011 by alotus_poetry. All rights reserved. Medium: Digital collage created using MS PowerPoint 2007 & Adobe Photoshop CS2. Photo taken on BlackBerry. Poem first created on magnetic poetry board with word kits.


I was in Ely, Minnesota on a hot July afternoon when a new haiku 2 (one-a-day) notification popped up on my BlackBerry. It was A~Lotus, a friend I met through red Ravine. Liz and I were taking a break in our room at the Adventure Inn before heading back to the North American Bear Center. I took a minute to read the comment:

Hey, here’s an idea: Why don’t we do a BB 365 Collaboration? We each do our own 365 photos and manipulate them however we want to, be it adding text/poetry, collages or any other mixed media. However, we will be responding to each other’s photos. It’s a triple challenge:

A) The first individual will take the first photo of the New Year.
B) The second individual will take a photo in response to the first individual.
C) Both individuals can be as creative as they want in their own separate photos.
D) By the end of the year, each individual will have their own 365 batch.



Already in the middle of a BlackBerry 365 Project for 2010 (view the entire year’s slideshow here), I had to do some soul-searching about whether I could commit to another year of taking a photo every day. Honey, Lucky, and Ted were waiting. I tucked the idea into the brim of my Minnesota Twins cap, sent off a quick response to Lotus, and headed back to the NABC:

A~Lotus, I’m on vacation up in Ely, Minnesota right now. But, at first glance, I like the idea of collaborating on a BlackBerry 365 year. I definitely want to do another kind of photo practice next year. It stretches me. So let me think about it a little more and read over your proposal again when I get back into town. I like your enthusiasm! Will check out your Flickr account.


Sun Bleached

Sun Bleached, BlackBerry 52, Jump-Off – Week 1, Golden Valley, Minnesota, January 3rd, 2011, photo © 2011 by QuoinMonkey. All rights reserved.


A few months flew by. I needed to respond. I agreed to post one photo each week for the 52 weeks of 2011. And that we’d call it BlackBerry 52. Lotus is a poet, so it seemed like a fun idea to also collaborate on one renga for the 52 weeks of 2011. We’d call that Renga 52 and keep it going for a whole year on haiku 4 (one-a-day) Meets renga 52.

We finally landed on collaborative practices I felt I could stick to — one photo a week, one poetry addition a week. It’s tough to do any practice for an entire year. I’ll write about the challenges of BlackBerry 365 in another post. For tonight, here are the simple guidelines that A~Lotus and I are following for BlackBerry 52. It’s a call and response:

BlackBerry 52 Guidelines

  1. One person posts a BlackBerry photo on her Flickr account each Monday. This is the Jump-Off.
  2. The other responds with a BlackBerry photo, a haiga, a piece of art, any form of visual response.
  3. The response to the Jump-Off must be posted on Flickr by the end of the next Sunday.

If you’d like to join us for BlackBerry 52 each week, post your responses to the Jump-Offs on Flickr and drop the link into the comments. The Jump-Offs for January 3rd and 10th are the images above. (I’ll also add a BlackBerry 52 link to the sidebar.) You can follow A~Lotus on Twitter (where she writes poetry every day in community with other Twitter poets), at Poetry By Lotus, and on her Flickr account. Can’t wait to see what develops by next New Year’s Eve!


-posted on red Ravine, Tuesday, January 11th, 2011

-related to posts: BlackBerry 365 Project — White Winter Squirrel, BlackBerry 365: Things Loved, Things Learned

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Forgotten Winter Snows, BlackBerry Shots, Brooklyn Center, Minnesota, April 2010, photo © 2010-2011 by QuoinMonkey. All rights reserved.



New Beginnings, New Moon. It’s a good time to start projects and yearly practices. The tradition of haiku on red Ravine began in January 2008 with the piece haiku (one-a-day). It is a practice born from reading Clark Strand’s Seeds from a Birch Tree: Writing Haiku and the Spiritual Journey during a year-long Writing Intensive with Natalie Goldberg in Taos, New Mexico. The response from our readers was so great, that we continued the practice with haiku 2 (one-a-day), adding the poetic forms of tanka and renga, and creating a community haiku practice that would span two years.

Thanks to our faithful readers and haiku poets, January 2011 will jump-start our 4th year of haiku practice on red Ravine. haiku 4 (one-a-day) granted me the opportunity to do further research on the history of Japanese poetry and led me to the forms of gogyohko, haibun, and haiga. This year’s challenge is to continue to co-create and build on the poems of other haiku writers with tanka and renga, while exploring the additional forms of gogyohko, haibun, and haiga. [Note: For our new readers, I am reposting information on haiku, senryu, tanka, and renga. For the three new forms, scroll down to gogyohko. Makes the post lengthy, but worthy of a whole year of poetry!]

Along with haiku practice in 2011, I’m doing two collaborations with A~Lotus, one which we call Renga 52. (The other is a BlackBerry 52 practice which I will write about later.) In Renga 52, we are going to keep one renga going in the comments on this post for the entire 52 weeks of 2011. We will each add to Renga 52 at least once a week. You are welcome to participate. Simply jump into Renga 52 in the comment section anytime you wish. Here’s to health and prosperity in the coming year!



haiku & senryu (part one)


Haiku uses simple, direct language, words that evoke a season, and usually incorporates a cutting or pivot word, so that one half of a haiku seems to speak to the other. According to Patterns In Poetry, haiku is closely tied to the Japanese aesthetic of Yugen and the spirituality of Buddhism. It is written in a 17-syllable form (usually three lines of 5-7-5) that looks deceptively simple. Yet if you read the work of the masters like Basho, Buson, and Issa, wandering poets who lived during Japan’s Edo-period (1600-1868), it becomes clear that the practice of haiku can take years to master.

Senryu is similar to haiku but strays from seasonal or nature themes. According to Simply Haiku, senryu focuses on people and portrays characteristics of human beings and foibles, and the psychology of the human mind. Senryu can express human misfortunes or the hardships of humanity, and even when they depict living things or inanimate objects, human attributes are emphasized.

What both haiku and senryu have in common is that they derive from a form of Japanese court poetry called tanka.


Characteristics of haiku:

  • 17 syllables, 3 lines (with variations for language differences)
  • Simple, direct, non-metaphorical language
  • Captures a transitory insight or moment in time called satori or the aha moment
  • Contains a kigo, an image of nature that evokes a particular season
  • Contains a cutting or pivot word that turns the movement of the poem
  • Based on experience, speaks of the common, in the moment, just as it is



tanka (part two)


Tanka, the oldest Japanese poetry form, was often written to explore religious or courtly themes and had a structure of five lines with a 5-7-5-7-7 syllable structure. One person would contribute the first three lines (5-7-5) of the tanka, and a different author would complete the poem by composing a 7-7 section and adding a pivot point such as in this tanka from George Knox at Aha! Poetry:


in the check-out line
a worn face ahead of me
turns tentatively. . .
realities of desire
fade in final reckoning

-tanka by George Knox


Characteristics of tanka:

  • 31 syllables, 5 lines
  • Write the first section of a tanka (5-7-5), similar to a haiku.
  • Another person picks up the first 3 lines and writes a response (or continuation) by composing two lines of 7-7 syllables.
  • Can reflect nature or lean toward senryu
  • Emotional, contemplative, imaginative, reflective, written to be chanted



renga (part three)


Renga (linked elegance) is a form of linked poetry which evolved from tanka, the oldest Japanese poetry form. In renga’s 800 year history it has gone through many ideological changes. (And it was Basho who, after 500 years, snipped off the first three lines of renga to form haiku.)

In renga, one person would often contribute the first three lines (5-7-5) of the poetic chain and a different author would complete the chain by composing a 7-7 section. Then another author would build on the previous 7-7, with another 5-7-5 passage. This chaining of verses or renga, could sometimes add up to hundreds of linked tanka.

The first part of the poem, called hokku or “starting verse,” frequently sets the tone for the rest of the poem, and the authors of hokku often earned the respect and admiration of their fellow poets. By the 19th century, largely through the work of Masaoka Shiki, hokku began to be written and read as individual poems. From the word hokku derives our word haiku.


Characteristics of renga:

  • Write the first section of a tanka (5-7-5), similar to a haiku. Hand this poem to another person.
  • Second person writes a response (or continuation) by composing two lines of 7-7 syllables. Then the second person hands off the completed tanka to a third person.
  • Third person writes another 3 lines of (5-7-5), beginning a new tanka
  • Continue in this way until you run out of time or feel that the poem is complete.
  • Contains a bridge or pivot point that links to the emotional element
  • Don’t try to force the storyline. When writing a response to the previous poem, focus only on the last section of the tanka, not the whole poem.
  • Think of each stanza as a springboard from which you are going to jump. The important thing to watch is what happens between the links.



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gogyohka (part four)


Gogyohka is a relatively new form of Japanese short poetry founded and pioneered by Japanese poet Enta Kusakabe. In 1957, at the age of 19, Kusakabe developed the concept of Gogyohka in order to create a freer form of verse. According to his website, The Gogyohka Society, gogyohka is pronounced go-gee-yoh-kuh (the “g”s are hard as in “good”), and literally translated means “five line poem.”

Gogyohka is five lines of free verse on any subject matter. There is no set syllable pattern or requirement for the length of its lines, but they should be short and succinct  — governed by the duration of a single breath. The goal is to practice self-reflection and contemplation by distilling an idea, observation, feeling, memory, or experience into just a few words. I am new to the form, but here is an example by Rodlyn Douglas at The Gogyohka Society:


Have you loved enough
to know the taste
of blood on the tongue
of one who has been bitten
by betrayal?

-gogyohka by Rodlyn Douglas


Characteristics of gogyohka:

  • 5 lines of free verse
  • No set syllable pattern
  • Short & succinct lines, governed by the duration of a single breath
  • Captures an idea, memory, observation or feeling in a few compelling words



haibun (part five)


Contemporary haibun is a combination of prose and haiku poetry sometimes described as a narrative of epiphany. What makes the haibun electric is the contrast between the prose and the haiku. According to The Haiku Society of America, haibun is a terse, short prose poem in the haikai style, which may include light humor as well as more serious elements. A haibun usually ends with a haiku. Most haibun range from well under 100 words to 200 or 300. Longer haibun may contain haiku interspersed between sections of prose, but the connections may not be immediately obvious. The haiku may serve to deepen the tone, or take the work in a new direction.

Japanese haibun is thought to have developed from brief notes written to introduce individual haiku, but soon grew into a distinct genre. The word haibun can be applied to longer works, such as the memoirs, diaries, or travel writings of haiku poets. According to Contemporary Haibun Online, haibun is the Japanese name for 17th Century monk Basho Matsuo’s travel journals. Basho’s view of haibun was haikai no bunsho – “writing in the style of haiku.” His best-known works, The Narrow Road to the Deep North and The Hut of the Phantom Dwelling, were poetic prose, studded with haiku. Saga Nikki (Saga Diary) documents the day-to-day activities on a summer retreat with his disciples. Here is a contemporary example of a beautiful haibun from Contemporary Haibun:


By The Bay

Dusk turns the water into a fire opal.
The fragrance of fresh earth merges
in the air with white flowers.

Waves seem to whisper through the
western windows of the cabin my grand-
father built for my grandmother.

“Love poems” she once told me.

As I hold you in the dark, I recall her
wistful sighs on the porch, rocking to
the rhythm of the sea.

summer dawn –
I rinse the sand
from the sheets

-haibun by Hortensia Anderson


Characteristics of haibun:

  • Combines prose & haiku
  • Written with the brevity & conciseness of haiku
  • Dependent on images, syntax dominated by imagery
  • Combines light humor & serious elements
  • Ranges from less than 100, up to 300 words
  • Usually ends in a haiku



haiga (part six)


Haiga (Hai means comic and Ga means painting) is a style of Japanese painting based on the aesthetics of haikai, from which haiku poetry derives. Traditionally, haiga combined a haiku poem (written in calligraphy) with a simple painting and was based on simple, but profound, observations of the everyday world. In Haiga: Haiku, Calligraphy, & Painting, Poets.org describes traditional haiga as haiku’s more visual cousin. Some of the early masters were Morikawa Kyoroku, Sakaki Hyakusen, Takebe Socho, and Yosa Buson. Contemporary haiga often adds digital imagery to haiku poetry by the juxtaposition of a photograph to a poem. Or by overlaying the poem on to the image. As we have found on red Ravine, there is a natural inclination to combine haiku poetry forms and digital photography. At Daily Haiga, you can see examples of blended poetry and photography.


Characteristics of haiga:

  • Combines haiku & a simple painting, photograph, piece of art
  • Images restrained, minimal ink strokes, light colors
  • Free flowing with no unnecessary detail
  • Light, ironic, amusing, even when subject is serious
  • Unromantic, down to earth, humorous
  • Ordinary, day-to-day subjects and objects



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haiku practice


Feel free to drop a haiku into this space anytime, day or night. Or join the word play and collaborative effort of tanka and renga. I’m excited to explore the 5-line form of gogyohka, and have already started writing haibun in my Journal 365 practice this year. I thought it would be fun to continue to explore these ancient forms of Japanese poetry, and see where the journey takes us.

Also, it’s okay to experiment, break form, and move out of the traditional structures. English syllables translate differently than onji. And according to Richard MacDonald (from his essay What is Tanka?), Japanese poetry is syllabic by nature and not metrical or rhymed, because like the French language, the Japanese language lacks stress accents.

There are different schools of thought about how rigid one should be in counting syllables. From what I have read, it is a matter of personal taste whether to stay close to the Japanese model, or stray from it for personal reasons or aesthetics in order to incorporate Western heritage into poetic work. The most important thing is to relax and have fun with it!


Option 1 – haiku

  • Drop in a haiku or senryu, 17 syllables, 3 lines (with variations for language differences)

Option 2 – tanka

  • Grab another poet’s haiku, and write the 2 additional 7 syllable lines to create a tanka

Option 3 – renga

  • Grab a tanka created by 2 other poets, and, focusing on the last 2 lines, start the beginning of a new tanka (5-7-5) to be completed by the next poet

Option 4 – gogyohka

  • Write a gogyohka, 5 lines of free verse, governed by the length of a single breath, no set syllable patterns

Option 5 – haibun

  • Write a haibun, combining prose & haiku, less than 100 – 300 words, ends in haiku

Option 6 – haiga

  • Drop in a link to a haiga you created, blending or juxtaposing a haiku with painting, photo, or any form of visual art


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DEFINITIONS:


bridgeword, or words leading the reader from the nature image to the statement of emotion

cutting (kireji) Punctuation mark or word that divides a haiku into two parts. A cutting can be a hyphen, ellipses, colon or a word.

gogyohka5 lines of free verse on any subject matter, each line the length of one breath, no set syllable pattern

haibunterse, relatively short prose poem (100-300 words) in the haikai style, usually including both lightly humorous and more serious elements, ending with a haiku.

haigacombining a haiku poem (written in calligraphy) with a simple painting. Contemporary haiga combines digital imagery, photographs, other art forms with haiku.

haikaishort for haikai no renga, the popular style of Japanese linked verse originating in the 16 Century, as opposed to the earlier aristocratic renga. In both Japanese and English, the word haikai can also refer to all haiku-related literature.

hokkufirst part of a renga, hokku is a “starting verse” that frequently sets the tone for the rest of the poem. Authors of hokku earned the respect and admiration of their fellow poets. By the 19th century, largely through the work of Masaoka Shiki, hokku began to be written and read as individual poems. From the word hokku derives our word haiku.

kigoA seasonal reference in haiku. Usually a kigo has accumulated resonances and associations with earlier haiku and Japanese aesthetics about time.

onji Japanese syllables. The language differences between Japanese and English are vast and complex. Converting onji to syllables may not always be a one for one process.

pivot word A word in a haiku poem that changes, or turns the direction of the poem

rengaJapanese poetic form made up of linked tanka verse; the word renga means “linked elegance”

satori A moment of insight or reflection that emerges in a Haiku poem (usually around the cutting or pivot word)

tanka Japanese poetic form that is made up of 5 lines with a 5-7-5-7-7 syllable count. Haiku derives from tanka.

yugenJapanese term for beauty that suggests mystery, depth and a tinge of sadness


RESOURCES USED IN WRITING THIS PIECE:



-posted on red Ravine at the first New Moon, Wednesday, January 5th, 2011

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Mandala For A New Year, BlackBerry Shots, Golden Valley, Minnesota, January 2011, photo © 2011 by QuoinMonkey. All rights reserved.


A Downy pecks at the suet feeder. Black-eyed peas simmer in a vintage crock-pot in the kitchen. Temperatures hover around zero; it’s 3 degrees and windy. Gifted with unexpected time alone on New Year’s Eve, I wrote in my journal, checked in with the Midwest Writing Group, worked on a mandala, completed the BlackBerry 365 practice, made plans for the New Year. It felt positive to me, this forward thinking.

I am one of those people who mines for specks of gold in old and burly mountains, drags silvery threads of the past forward. Lineage. Writers, artists, photographers. Process. Birth, death, old age. What makes something work? Like The Fool archetype in Tarot, it is with great humility that I embrace the unknown and begin again. Beginner’s Mind. I will miss ybonesy and her free spirited and vibrant creative fire on a daily basis at red Ravine, but I know I have to face forward. It’s one of the things she taught me — take risks. Move into the future. When you collaborate with a person who strikes a balance, one who possesses the qualities you lack, it’s easy to become complacent about that which needs strengthening inside.

I need a strong back, flexible muscles. I will build on the Bones of red Ravine. I have so many dreams I want to pursue; they have not gone away. I will have to be diligent. Courageous. Disciplined. It takes courage for ybonesy to leave to spend more time with her family; it takes courage to stay. I’d be lying if I said I wasn’t scared. There are days when the work of blogging feels like it needs a whole army of writers and artists to move it forward. But I believe in the mission and vision of red Ravine and am excited to steer her in a new direction. The winds may be stiff; I will follow the structure we put into place—teacher, practice, community—and see where red Ravine takes me.


Mandala For The New Year Mandala For The New Year Mandala For The New Year


I am forever grateful to Roma who walked up to me in Mabel’s dining room after one of the silent retreats, and asked if I wanted to write together. I would be returning to Minnesota, she to Albuquerque, 1200 miles between us. The Turtle in me had to give it some thought; not for long. The seed for red Ravine had been planted. Now this space is Home, a strong cottonwood by the Mother Ditch, in her adolescent years, still growing. But nothing can thrive without nurturing, play, attention, and time. I have to plan carefully, regroup. Thank you for standing by me.

I am grateful for the 5 years of creative collaboration with ybonesy. She is a strong, gifted woman, a dear friend. I am grateful for a community that keeps coming back. I feel supported. I’ve committed to keeping red Ravine alive through another year. It’s one of my practices. I draw on what Natalie taught me: Continue under all circumstances. Don’t be tossed away. Make positive effort for the good (adding under my breath, Cross your fingers for Good Luck!).

Back to the moment. Time to feed Mr. Stripeypants and Kiev. Liz will be rising soon. We spent part of New Year’s Eve watching Lily and Hope on the NABC 2011 DenCam. They aren’t worried about such things as red Ravine. They are busy being Bears. I focus on my new practices for 2011: (1) a daily Journal entry 365 (2) a BlackBerry collaboration inspired by Lotus (one of our readers) (3) a year-long Renga collaboration. I’ll write more about these practices in coming posts. Happy New Year, ybonesy. Happy New Year to all red Ravine readers. Happy New Year, red Ravine. New Beginnings. The Promise of Spring.


-posted on red Ravine, Saturday, January 1st, 2011

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Fire & Ice

Fire & Ice, Winter Solstice Celebration, BlackBerry Shots, Minneapolis, Minnesota, December 2010, photos © 2010 by QuoinMonkey. All rights reserved.


Sitting, staring out the window. The Hairy Woodpecker has found our suet feeder. This year we moved the deck feeders two feet South to protect them from the squirrels. The rodents can jump about 4 feet from the deck rail to the feeders if they put their minds to it. I love the woodpeckers and am happy they have found a safe place to feed for the Winter.

Last night we celebrated Winter Solstice. Holding On, Letting Go Letting go of what we want to leave in the Dark, making conscious choices about what to bring into the Light. I was quiet, more withdrawn than usual. Liz wore the Bear this year. I loved watching her dance down the path, calmly and playfully.

Ice Candle The night was cloudy, with a frigid West Wind blowing right into our faces. My fingers grew numb; I pulled them into my coat to keep warm. Homemade ice candles lit the path down to the fire ring. We didn’t hear the coyotes. Or the Great Horned Owl from last year. There were times when we stood by the fire in complete Silence. Other moments when drums and rattles were going full force. The drummer in me is happy at these rituals.

Morning finds me tired, sore, smelling like smoke from last year’s Yule tree. Solar Tree It’s 4 degrees as I type. A powerful Solstice is a day away. What makes it so potent is something that has not happened in 450 years — the combination of a Winter Solstice Blue Moon (the original meaning of a Blue Moon was Four Full Moons in one season) which coincides with a Total Lunar Eclipse.

According to NASA, an eclipse of the Moon can only take place at Full Moon, and only if the Moon passes through some portion of Earth’s Winter Solstice Fireshadow. Unlike a Solar Eclipse, it is safe to view with the naked eye. From a Shamanic perspective, the Total Lunar Eclipse collapses time and accelerates what’s already in motion. The rare Winter Solstice Full Moon Total Lunar Eclipse is a time that creates maximum synchronization of Solar and Lunar cycles, strengthening the power and intensity of the Sun and Moon together. When this happens the New Year brings increased understanding of a larger cycle of events at work in the world, and of lineage, the knowledge passed down from the Ancients.


Here are the times for Solstice & Eclipse events in Minnesota (CST):

Total Eclipse of the Moon — Tuesday, December 21st, 1:41am to 2:53am CST
Full Blue Moon in Gemini — Tuesday, December 21st, 2:13am CST
Winter Solstice 2010 — Tuesday, December 21st, at 5:38pm CST


Hours to view the reddish hues of the eclipsed December Moon vary, depending on where you live. In Europe and the eastern United States and Canada (time zones AST, Tiny Solstice MoonEST and CST), the entire eclipse occurs during the early morning hours of December 21, 2010. For the western United States and Canada (time zones MST and PST), the eclipse begins before midnight on the night of December 20, and ends sometime after midnight on the morning of December 21. In Alaska and Hawaii (time zones AKST and HST), most of the eclipse occurs on the night of December 20, but ends early on December 21.

You can find official times in your area at Mr. Eclipse and a detailed breakdown of the phases of this year’s Winter Solstice Total Lunar Eclipse. If you don’t feel like braving the elements, NASA is providing a live webcam at their site.


Another year is coming to a close. The frost on our windows tells me Winter is here to stay. We have had a cold December. One that finds pleasure in mimicking the sub-zero temps we usually see in January. And the snow! Almost three feet of it. Last weekend we were digging out. This weekend, back to the mundane chores of living. Chop wood, carry water. You can’t get away from it. Blue sky peeks over the oaks and ash. The woodpecker has flown from the feeder; a Lunar Eclipse is on the way.


2004 Lunar Eclipse Sequence, (c) 2004 Fred Espenak, courtesy Fred Espenak, Mr. Eclipse at http://www.mreclipse.com


-posted on red Ravine, Monday, December 20th, 2010 , partially based on a Sunday Writing Practice about Frost

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Joy Is, Joy Is Not, BlackBerry Shots, Minneapolis,
Minnesota, December 2010, photo © 2010 by
QuoinMonkey. All rights reserved.


The days are dark, the nights long. Five days until Winter Solstice. Holidays draw us to friends and family, gift giving, service work. I want to go inside. Reflective heat, ambient light. Darkroom blues. I have spent hours under red safelights in black and white darkrooms. What color is Joy?

At times when there is the least light, we need to find ways to tap more joy. I look to the small things. Sunrise, Tuesday morning. Snowstorm, Friday night. Digging out. Digging deep. An old recipe. A new flame. Joy takes many forms. Clay dangling from red string. One new liver. Two hibernating black bears. Three things I am grateful for.

Some are afraid to feel the full strength of Joy. The intensity makes them fearful. What if Joy leaves in the middle of the night. How will I fill the hole.

What brings you joy?

Joy is a giant taproot of swirling lava at the center of the Earth. Joy is a burning ember in the middle of an indigo night. Behind every Black Dog, Joy sits like the mountain.

Write I feel joy at the top of your Writing Practice notebook. Or sink into the underbelly — I don’t feel joy

Joy is, Joy is not. Ten minutes, Go!


-posted on red Ravine, Wednesday, December 15th, 2010

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Moon Over Taos Mountain, Taos, New Mexico, January 2003, Tri-X black & white film print, photo © 2003-2011 by QuoinMonkey. All rights reserved.


December marks a time of darkness and silent reflection leading up to the Winter Solstice. Most Decembers, Natalie holds a writing retreat around the time of December 1st through 8th. In Zen, this time is called Rohatsu Sesshin and marks the enlightenment of the Buddha, Siddhartha Gautama. For those heading to Taos to write, it’s a time of community solitude, an opportunity to go within.

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Slow Walking, Natalie Goldberg, Taos, New Mexico, January 2003, Tri-X B&W film print, photo © 2003-2011 by QuoinMonkey. All rights reserved.

This week ybonesy and several other writing friends will be making the jouney to Taos to sit in silence. I find comfort in knowing they will be there under Taos Mountain. When they sit, they sit for all of us. The zendo casts a wide circle. Everything is connected. We can sit and write in solidarity.

There will be long nights under Mabel’s lights and slow walks into Taos. Some will walk the morada, visit the graves of Mabel and Frieda, soak up places that Georgia walked on her first visits to New Mexico. Notebooks will be filled with Writing Practices, later to be reread.

Whatever’s at the surface will fall away. What’s important is what is underneath.  Underbelly.


Sit, Walk, Write. With Gratitude to a long lineage of mentors and teachers. For all that has come before. And all that will be.


Note: ybonesy and I met in Taos at a Writing Retreat. We’ll be forever connected by that thread. And the practice that became red Ravine. We’ve written many pieces on our time spent in Taos. To learn more about Sit, Walk, Write or our experience of studying with Natalie Goldberg at the Mabel Dodge Luhan House, check out the links in this post. Or click on any of the posts under Taos. With Gratitude to our readers, those at the Mabel Dodge Luhan House, Natalie, and all the writers and artists who keep showing up to brave the silence. We are all in this together.


–posted on red Ravine, Sunday, December 5th, 2010

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Loteria Journal

Lotería Journal, altered Moleskine cover with ybonesy doodles (plus Caran d’Arch, gouache, and ink pen), design © 2010 by ybonesy, all rights reserved.




I love journals. I’ve written about my love of journals. I have doodle journals and writing journals, and I even have my first ever journal, a gift from my sister Bobbi, who got it for me as part of a Scholastic book order she made for her new class. She gave it to me about the time she started teaching: 1974. I was 13 years old, a newly minted teen, and my journal (it was actually more of a diary, although I’m not sure what the difference is) was the perfect place to log news of piddly babysitting jobs (for which it was not uncommon to make 75 cents!), swim lessons, and crushes. That early journal got me believing that any life—even one so boring as my own—was worth recording.

That’s the beauty of the journal. That it might collect the ordinary and occasional extraordinary goings-on of your existence. And that someday you might look back on it as one experiences the family photo album. Memory, insight, a looking glass into your world, or at least a snippet of it.

So it is not surprising that I’ve recently discovered the joy of making journal art. I’m not sure what else to call it. I take blank journals—the basic Moleskine works great—then figure out designs to create on the covers. It’s a fun project, one that can easily be done over a long holiday weekend.


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loteria journal in process (one) loteria journal in process (two)



To make the Lotería Journal, which I fashioned after the Mexican Lotería cards, I used the following items:

  • Moleskine or other journal – I like the Moleskine brand, but it is a bit pricey. Any simple journal will do; for this project it’s best to stay away from leather or cloth covers.
  • Gesso – to apply to the cover so that you can color or paint the cover (the gesso acts both as a whitening agent to better absorb and reflect light in color, as well as a primer so that whatever you apply bonds well to the surface).
  • Evenly sized images – for this journal I used my own, but you could cut images out of magazines or tear out cool papers and draw different designs on each one.
  • Mod Podge – to glue the images to the Moleskine cover, and later, once the piece is completely done, I’ll paint the entire cover with Mod Podge to seal the design and give it a glossy finish.
  • Paints and wax crayons – to add color.
  • A black pen, preferably permanent, but if you use an impermanent one, just make sure it is completely dry, and when you do your final paint with Mod Podge, do a quick brush; don’t go back and forth or linger else the black ink will smudge.
  • Brushes – a one-inch one for the Mod Podge and a small one for my paints (both of which I keep in water while I’m not using them).


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And given that we are in the Thanksgiving season, I can’t think of a better use of a lovingly created journal than to transform it into a Gratitude Journal. Now, folks out there may practice daily Gratitude, but for my part, this is an area that I’d like to improve. I want to spend more time giving thanks for what I have and less time wanting whatever it is I don’t have.

A Gratitude Journal can take several forms. One idea is to use it as a way to say Thank-You to someone in your life. My sister Janet once created this type of Gratitude Journal for me, although we didn’t call it that back then. But now as I think about it, that’s exactly what it was.

About thirteen years ago I organized a trip to Spain for my dad, Janet, another sister, and my sister-in-law. The five of us spent two weeks traveling all over the country, staying in unique and at times quirky places. An olive-farm-turned-bed-and-breakfast, a renovated monastery, and a former brothel, for example. We had a wonderful time, and afterward Janet made me a journal as a memento of our experience. Handmade paper adorned the front and back covers, and inside on a long single sheet of paper that she folded like an accordion, she made a collage of different scenes from the trip.

You could create a Gratitude Journal and inside turn it into a personalized Thank You to someone close to you. I know I often pull out the journal my sister made for me. It’s so much richer than a Thank You card.



gratitude journal (one)
gratitude journal (two)



A Gratitude Journal could also be something you keep for yourself over a certain period of time—say, the upcoming year—to help practice gratitude in your life. There are a lot of ways you can do this. For example, each day you could think about what it is you’re grateful for and then write about that particular topic. Or make a doodle about it, or do a collage on that page.

QuoinMonkey wrote a post at the end of 2007 titled Feelin’ Down For The Holidays? Make A Gratitude List. She made her list at the end of the year, as has been a tradition of hers for several years now. Here you can see her Gratitude List from 2007 looking forward to 2008, along with mine. And here are QM’s Gratitude Lists from 2009 and 2010. You could follow QM’s example and dedicate a sheet of paper to each letter of the alphabet and see what flows onto the page.

Or maybe your Gratitude Journal project is more about simply focusing this weekend on creating a beautiful cover for your journal. Maybe that in itself is the act of Gratitude, giving Thanks by allowing yourself to spend a few hours making art.

And speaking of giving Thanks, QM and I are immensely grateful for the community and inspiration we’ve received over the years from working together and from all of you.

Have a wonderful Thanksgiving holiday!



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love journal



prayer practice journal

Journal Art, mixed media journal covers—washi paper, Caran d’Arch, collage, small wooden canvases top two), postage stamp (third), stickers, etc., design © 2010 by ybonesy, all rights reserved.


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-Related to post On Providence, Old Journals, & Thoreau

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New works

New works, small paintings done in Caran d’Ache (wax crayons)
with gloss finish, images © 2010 by ybonesy. All rights reserved.




I love ’em and hate ’em. If it weren’t for art shows, I don’t think I’d ever make art. In fact, making art in the midst of living the rest of my life is the pits. There’s got to be a better way to be consistent.

But the good news is, I love making art again. How did I last however many months I did without it? My friend Laurence turned me on to these wonderful waxy crayons, and I happened to have a bunch of small (3″x 3″ — that small!) wooden canvasses, so I played around with collage and color.  And I did my usual pendants and bracelets.


hand-with-eye-(new)My dilemma: How to make art every day? Or every week, or even every other week?

I love the tedium of it. It’s technical and minute, and even when I’m coloring outside the lines I’m still focused on one canvas. I love how my mind goes from being a net to being a funnel whenever I make art.

There’s a sound associated with that feeling. It goes something like Ffvooom.

That’s my lesson for today. Shows are hard, but shows are good. They make me show up for my art. And if I limit myself to two a year, then I can’t complain. I just got to stop procrastinating.


 

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Tomorrow I’ll be the featured artist at a wonderful little bakehouse called Cravin’ Cookies. It’s one of those best-kept-secret type places, inside an old house. Barb, the owner, makes the tastiest baked goods. I love her flour-less chocolate torte. And her Key Lime pie. And peanut butter cookies. Yum!

Hope to see my Albuquerque friends tomorrow!



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Ellen Fullman In MN On McKnight Visiting Composer Fellowship -- Patterns Of Long String Instrument

Ellen Fullman In MN On McKnight Visiting Composer Fellowship — Patterns Of Long String Instrument, BlackBerry Shots, St. Paul, Minnesota, November 2010, photo © 2010 by QuoinMonkey. All rights reserved.


November opens Season 22 of the Strange Attractors series at Fine Arts Studio 677. Strange Attractors is a Festival of eXperimental InterMedia Arts located on the campus of Metro State in St. Paul, Minnesota. The program was created and is run by musician/composer David Means, Associate Professor and Coordinator of the Program in Experimental Music and Intermedia Arts. The venue has a long history of presenting innovative, cutting edge musicians and artists. Last night, composer Ellen Fullman deconstructed the last 30 years of her work and presented history and video on the development of the Long String Instrument.

In 1981, Ellen created an installation of dozens of wires, 50+ feet in length, tuned in Just Intonation and bowed with rosin-coated fingers. It takes 70 feet of space and 10 hours to set up the Long String Instrument for performance and Ellen sometimes brings in engineers to help her anchor the hardware. When the performance begins, only the strings are lit up as she slow walks the stage, making it look as though she is floating on air. The results are a meditative blend of music and sound art, the experience compared to standing inside a giant grand piano. Or, as Biba Kopf wrote in The Wire, “like you are inside some cyclopean subterranean grotto…jeweled walls glistening with an alien lustre.”


In her Artist Statement, Ellen says:

My music explores natural tunings based on the physics of vibrating strings. Through observation, I have determined that there is an optimal bowing speed in which strings speak most clearly in the longitudinal mode, presumably based on a relationship to the speed of the wave moving through the material, which in turn regulates the pace of the walking performer. In the late 1980s I conceived of a graphic notation system that still functions as the basis for scoring my work, where timing and coordination of parts are determined by distance walked.

It is always a treat to be privy to the history and process of a writer or artist. And after the presentation, we discussed Ellen’s brush with Elvis in Memphis (her hometown) at age 1 and the rigors of traveling and working on the road. Ellen also spent time in the Twin Cities after graduating from the Kansas City Art Institute. Her 1980 piece Streetwalker, took us back to the red-light district of Hennepin Avenue in Minneapolis, where she walked down the street in platform shoes and a sheet metal skirt rigged to spring musical tones with each step. Last night’s presentation ended with Ellen’s current work and the spiritual and meditative aspects in the evolution of the Long String Instrument.

Ellen Fullman has collaborated with composer Pauline Oliveros, choreographer Deborah Hay, and has performed in venues in Europe, Japan, and the Americas. She is in Minnesota on a McKnight Visiting Composer Fellowship and currently resides at Bethany Lutheran College in Mankato. Ellen has three more performances coming up at the college on November 15th, 16th, and 17th. If she’s ever in your area of the planet, check out her performance art. It is an inspiration.


Deep Listening Band and the Long String Instrument performance of Suspended Music – TexasTravelTexture by Ellen Fullman with Nigel Jacobs and Elise Gould, and Deep Listening Band: Pauline Oliveros, Stuart Dempster, and David Gamper, posted on YouTube by Ellen Fullman.


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