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Posts Tagged ‘Haiku’

Boo!, All Hallow's Eve one year ago, Minneapolis, Minnesota, photo by QuoinMonkey, all rights reserved.

Boo!,  All Hallow’s Eve by the fire, one year ago, Minneapolis, Minnesota, October 2006, photo © 2007 by QuoinMonkey. All rights reserved.




 

North

pumpkin-faced Milk Duds
Willy Wonka candy corn
12 tricks for a treat?


South

Dead flash toothless smiles
2 Grandmothers walk the earth
Spirits dance on fire


East

gloved hands wipe chafed lips
crooked teeth eat twisted stems
shadows swim through oaks


West

hollow frosted rose
Hunter’s Moon drops the sky
veils the Evening Star





-posted on red Ravine, Tuesday, October 30th, 2007

-related to posts: WRITING TOPIC – HAUNTED, The Great Pumpkin Catapult

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The Gleaning, outside the Parkway Theater, Minneapolis, Minnesota, September 2007, photo © 2007 by QuoinMonkey. All rights reserved.

The Gleaning, Rainpainting Series, outside the Parkway Theater in the rain, Minneapolis, Minnesota, September, 2007, photo © 2007 by QuoinMonkey. All rights reserved.



The Gleaning

skirting the edges
of a blustery fall day
diving for spent dreams




-posted on red Ravine, Saturday, October 6th, 2007

-related to post, Somewhere Buried Deep

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First Thoughts, Rainpainting Series, Minneapolis, Minnesota, September 2007, photo © 2007 by QuoinMonkey. All rights reserved.

Somewhere Buried Deep, Rainpainting Series, outside the Parkway Theater in the rain, September 2007, photo © 2007 by QuoinMonkey. All rights reserved.



First Thoughts

somewhere buried deep
within the fire of second choices,
first thoughts



-posted on red Ravine, Friday, September 28th, 2007

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Study In Red, Minneapolis, MN, photo © 2007 by QuoinMonkey. All rights reserved.

Study In Red, out on the porch, July 2007, Minneapolis, Minnesota, photo © 2007 by QuoinMonkey. All rights reserved.


last day of July
sun vase over the deck rail
red refracting light


-posted on red Ravine, Saturday, August 25th, 2007

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You Can't Go Back, Augusta, Georgia, June 2007, photo © 2007 by QuoinMonkey. All rights reserved.

You Can’t Go Back, one of the homes I lived in as a child, now abandoned, June 2007, Augusta, Georgia, photo © 2007 by QuoinMonkey. All rights reserved.



I spent two weeks on the road in June, researching my book. The second week was a road trip with my mother to Georgia, where I spent much of my childhood. Mom has been working on the family tree for at least five years. We printed out the whole tree (which ended up being about 4 feet wide and 5 feet long), taped it together, rolled it up, and carried it with us to the South.

To spur memories and aid my research, I asked her and my step-dad to drive me around to all the places we lived when I was growing up. I asked questions, took photographs, and taped their memories of love, land, and place. Not only was it a rich time with them, it was healing.

The demographics of the places we lived back then have changed. Many homes where I lived as a newborn, infant, or young girl, now reside in less desirable parts of town. The photograph is one of the homes where I lived with my mother. She said she used to rock me on the little side porch that is now overgrown with weeds.

I knew when I saw the Abandoned topic, I wanted to write about what it was like driving around, experiencing the past (some of which I was too young to consciously remember) through present eyes. I drummed up the memory of seeing this abandoned place, which was once our home, and wrote these haiku like a writing practice. They haven’t been edited.

I learned a lot on that trip. You can go back – but it’s not the same. And the death of one thing is the glorious birth of something else.




You Can’t Go Back – 15 haiku


rocking on the porch
imagining your soft lap
cradling my head


you can’t go back home
but you can peek through the past
as if it was yours


I raised the glass lens
sweat trickled down my armpit
let sleeping dogs lie


home was forsaken
covered with vines and green leaves
I opened the door


earth reclaims the past
memory doesn’t hold me
I am holding it


neighborhoods crumble
our memories are alive
long after we die


unraveling the past
identity cracks open
desolate and white


confederate flag
in the yard across the way
stops, pauses mid-air


the past is the past
never to be abandoned
as long as we live


grandmothers recite,
“go tell your stories, honey”
a dog barks nearby


running through puddles
along the wide Savannah
I dive but no splash


sultry and humid
I remember my last name
forgetting the first


time is elusive
batting flies against the rain
through leaky floor boards


pounding the pavement
emaciated memories
sparkling in the sun


the jewels of the past
backseat drivers one and all
remember, you are


-from Topic post, WRITING TOPIC – “ABANDONED”

-posted on red Ravine Friday, August 17th, 2007

-related to posts:  Excavating Memories,  Cassie’s Porch – Then & Now, (Geo) Labyrinth Finder, Duck & Cover

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 Taos Mountain In Summer, July 2007, Taos, New Mexico, photo © 2007 by QuoinMonkey. All rights reserved.

Taos Mountain In Summer, July 2007, behind Mabel Dodge Luhan House, Taos, New Mexico, photo © 2007 by QuoinMonkey. All rights reserved.





Taos Mountain summer
wraps hard rain around soft bows
I’m drenched to the bone



black clouds in blue sky
slatted swing over the ditch
creaks slowly, I write



rain crawls through roof cracks
gusts blow open my notebook
words scatter to wind



cottonwood splashes
through the lens, afternoon rain
breaks open the sky



end of a long day
in the middle of summer
I start to wake up



green sky through laced glass
and a mourning dove’s red eye
swallows the noon sun



walking the back path
Mabel smiles from the window
I wink and then nod



black spider shimmers
cottonwood squeezes soft wind
through a glistening web



sweat drips from my arm
I don’t sit like the mountain
the sun sits on me



Lawrence and Brett stroke
painted windows in the light
camel hair bristles



the Pink House once held
summer rain, live wires that dodge
breakfast at Mabel’s



fancy dancers run
lightning drips through the pow wow
under Taos Mountain



Monday, July 16th, 2007

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I found these haiku in the pages of a notebook I was rereading from August of 2006. Has it really been almost a year? They were written at Ghost Ranch when I got separated from the writing group after lingering too long at the pond. I sat on the prickly ground, alone and silent, chewing on a bite of apple, steam from a soggy T-shirt rising in the dry heat.

I sat for 10 minutes. And then wrote these haiku. I’m posting them in solidarity for my friend at Ghost Ranch. I have a clear visual of the open space where she is painting, the yellow pond (it’s green to me), and the path up Box Canyon. The wind – it’s swirling around in my head. I’m racing around trying to get packed. I’ll be in Albuquerque sometime tonight. Then on to Taos.

It will be good to be back in New Mexico. And at the same time, I long to be home.


 13 haiku


the cottonwood wind
floods by me in an instant
shade next to my back

the dragon fly flits
over the lime green water
my back to a tree

lizard on a rock
doesn’t seem glad to see me
ducks into a hole

red rocks rise skyward
desert breeze shakes the cedars
next to the green pond

gold fish swims by me
startles my shivering breath
then leads the way home

leaf winding slowly
yellow wasp on white flower
bobbing to and fro

leaf lands on the pond
the cottonwood is silent
a ripple swims out

big hole in the sky
a dragonfly flew through it
and left me alone

the twisted bark wraps
its thigh around the red ghosts
soaked next to dry bones

blue sky sparkles green
through wind in the cottonwoods
ants fight for a crumb

the wind smells like sage
I sit next to an ant pile
pray not to get bit

rock towers flood through
the blue dragonfly’s four wings
I watch from the side

hairy bumblebee
black diamond down its soft back
sucks on a flower

-haiku from a writing practice at Ghost Ranch, August 2006

Friday, July 6th, 2007

-related to posts, What I Remember About Writing A Taste of Ghost Ranch, NM

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Time at St James, June 6th, 2007, Augusta, Georgia, photo © 2007 by QuoinMonkey. All rights reserved.

 -Time at St. James, by the Madison Clock Company, 1847, on the wall at St. James United Methodist Church, Augusta, Georgia, June 6th, 2007, photo © 2007 by QuoinMonkey. All rights reserved.


Home Haiku

the thing about home
home hangs its weathered straw hat
on what used to be you


After we circled twice, the landing gear whirred and dropped with a thunk. I saw the top of Minneapolis clearly from the air. Hot, humid haze. I could not feel it. Liz said it rained and rained while I was gone. And then summer came.

I slept most of the flight, Northwest 150 from Baltimore. There was an empty seat between me and the 82-year-old man from a place 47 miles west of the Black Hills of South Dakota.

He asked me where I was going. I pointed down and said, “Here.” He asked what I did. I said, “I’m a writer.”

“What?” he said, cupping his right ear. “I’m a writer,” I repeated, a little more loudly.

He said, “I’ve written two books. I started a boarding school in South Dakota many years ago. The first book’s about that. The second is about, uhh, my family and my kids. My wife and I have held each other together for 56 years.”

“That’s a long time,” I said.

The man had cauliflower ears, a wide-brimmed straw hat, round Buddha belly that rolled over his belt, faded jeans with one of those western buckles, big-framed glasses, navy T-shirt, and a large, beige hearing aid. I smiled at him when I could muster it. But mostly I stared at the diminishing feet between me and the ground.

My mind rambled over the last few weeks. Then we landed.

Liz threw me the biggest kiss when she scooped me up at baggage. She’s glad I’m home. I’m glad to be home. And there is a sadness about it, too. All the connections I made, the bridges I walked.

Doors have opened to me, people from the past who remember who I was. Now I find myself missing them.

Twenty, thirty, forty years. There are not many people left who knew the girl I used to be.

Which home is home?

The answer to the riddle: every home is home.

For the time that it is home.


Tuesday, June 12th, 2007

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I Spy, photo © 2007 by QuoinMonkey. All rights reserved. 
I Spy, photo © 2007 by QuoinMonkey, all rights reserved


Job Haiku

sprawling pecan tree
rusty monkey wrench
1 fixed, 1 adjustable

Thursday, May 24th 2007

-from Topic post, Job! What Job?

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I did a journey yesterday morning (with 3 gracious friends who dedicated 2 hours of their time to my well being), then went to Maria’s for breakfast, Buca’s for dinner, and a birthday party and ritual for a writer friend of mine. She turned 46.

After over 22 years of teaching, she decided to do the one thing she’s wanted to do since she was 8 years old – write. It felt good to be there for her. And to know we’re all in this together.

My friend told teaching horror stories of some of the things she is leaving behind: spitting, punching, death threats from parents, exhaustion, and disinterested superiors. Being a teacher in an inner city school can be a thankless job. Looking at funding these days, maybe teaching is a thankless job in any school.

I was reminded of the post Shawn did yesterday A Bright Spot on The Pissed Off Professor. Her tag line is One Teacher’s Mounting Frustration Over Educational Disinterest. I think my birthday friend would like Shawn’s blog.

I want to take a moment to thank all the teachers who have believed in me over the years. Mrs. Juarez, my 8th grade English teacher, is the reason I am a writer. I want to look her up the next time I head home. Mom, please see if she still lives up the street from us and, I wonder, do you have her phone number? I want to call her up and thank her.

In the meantime, I woke up with this crunchy spring haiku in my head. It’s not much but it came to me in a dream. So I thought I shouldn’t ignore it.

I am glad spring is here. And there are people who believe in me.


crunchy spring haiku

crunchy spring haiku
taps a rhythm through my brain
bees’ wings in the rain



Sunday, May 6th, 2007

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A few nights ago, I stayed up past midnight writing a piece. PBS was on in the background. I wasn’t paying much attention until pre-film credits started to roll and I glanced up to see opening scenes of Native Son.

Not the 1951 version where Richard Wright played Bigger Thomas. It was the 1986 version with Victor Love, Matt Dillon, and Geraldine Page.

I had never seen Native Son. Or read the book. I first started researching Richard Wright last summer when I did a presentation on James Baldwin. We read “Giovanni’s Room” and “Another Country” for the writing Intensive in Taos last year. I fell in love with James Baldwin. One of Baldwin’s mentors was Richard Wright.

After we got back from Taos, a writer friend of mine went to a Twin Cities used bookstore and bought up all the Baldwin books. Some were original paperbacks; they smelled like the 60’s. She gave them to me as a gift.

One was Baldwin’s collection of essays, “Notes of a Native Son.” When she paid the clerk, the woman said, “Oh, there’s been a resurgence of the Harlem Renaissance writers lately.”

I’m not surprised.

I found the 1986 film version of Native Son to be heavy-handed and over dramatic. But I stayed up and watched anyway. Out of curiosity, I decided to research Wright a little more and stumbled on a Washington Post article on poetry.

While taking refuge in France from the fallout of his books, “Native Son” and “Black Boy,” Richard Wright wrote and studied haiku. There are 810 in his collection, “Haiku: This Other World,” published by Arcade in New York.

Not only that, according to the Robert Hass article, 5 Haikus By Richard Wright, Wright’s agent said he wrote 4000 poems during the last 18 months of his life, from the summer of 1959 until his death in 1960.

It makes sense to me that Wright would turn to haiku. Simple. Bare. And elegant. A good place to stop and rest. Shelter from the storm.


I am nobody:
A red sinking autumn sun
Took my name away.

A sleepless spring night:
Yearning for what I never had
And for what never was.

-Richard Wright, from “Haiku: This Other World,” by Richard Wright
(Arcade, 1998)


Saturday, April 21st, 2007

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i come here often
to ponder higher learning
ice like busted glass


crinkly brown leaves glow
first bare feet of the season
away from center


cool black mud follows
the ripple of blowing hair
under secret feet


out of season wind
shadowboxing the bare elm
blending crabapple


winding in and out
green spouts under black pant cuff
gnat, a rising star


twisted shadow branch
you can walk any season
while going nowhere


juicy green center
the perimeter is dry
sweat between my legs


grubby spring tadpole
dark undertones on the lake
snap to attention


winter is over
from crumbling insanity
springs eternal life


humbled by the saints
who walked tight curves before me
moon high in the sky


talking to Louis
in lotus blossom petals
Chartres calls me home


sun hot on white face
naked feet to unthawed ground
mosquito flits by


near the end of March
how bad i need a haircut
stepping in the door


wavy grass petals
undefined by crooked lines
spikes from a spiral


tennis ball popping
off a catgut racket head
damp earth underfoot


rings of blanket ice
i miss the snowy season
the itch in my nose


lone fly buzzes by
a leaf between pasty toes
yells, “March 25th!”


I stopped at Porky’s
remembered the fire pig year
grass grows as I walk


on the edge again
a stubborn leaf pricked my sole
out came a reindeer


a woman walks near
fire red pants & orange striped top
she wants what i have


drive peace & spread love
dare it to follow you here
chasing a faux tale


part of my practice
mixes raw heat with cold fire
a mother’s last wish


-haiku from labyrinth walk, March 26th, 2007

-related to post, Spring Walk and Labyrinth Walker

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seven o seven
March equinox dons lamb’s wool
the first day of spring


snatching liquid snow
from the puddle near the fence
silent and thirsty


red lichen dot folds
around a dead aspen branch
in my direction


tater tot medley
whiffing around broiled chicken
on a gray March day


a kid smoking pot
across the pond on a log
sitting in the sun


1 and a half feet
juniper split from the weight
of early spring snow


shedding muddy boots
on the rug by the white door
a black beetle crawls


flattened dirty snow
crusty and black near the porch
frees the columbine


Liz’s clear blue eyes
when she pulls on monkey socks
KitKat bunny ears


chocolate craving
combs the SuperValu aisles
looking for a snack


motherless children
Flower leads the long-tailed pack
of Meercat mansion


sandpaper crystal
reflects the moon in a leaf
spring thaw flutters by


Tuesday, March 20th, 2007
first night of spring

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I woke up writing haiku in my mind. Chaco, the black Siamese, could not sleep. And kept rattling the door. So I couldn’t sleep. The wind howled. The chimes rang. It reminded me of writing retreats in the Zendo. I’ll be back again in February. Writing haiku.

I stared at the ceiling. I composed haiku in my dream. I have long forgotten the lines. And so I start over.

We are all starting over in some form. New beginnings. Thank god. New beginnings teach me to love change. I used to fear change. But now I understand.

Without it, I don’t get the chance to start again.

            ***

the black pond melts clear
snow drifts against the window
and floats into cracks

the rope swing dangles
under the leafless white oak
breathless in the cold

water pools, leaves blow
chimes stir, January winds
blast hard from the North

chimney smoke waffles
off the neighbor’s snowy roof
seamless resistance

gnarled knot in the oak
I turn my head from the wind
dead leaf clings to life

weathered bat house nailed
into bark near a hollow
filled with emptiness

I rest in a thought
spring hides around the corner
buds sigh in relief

ancient potted soil
holds gangly roots of bamboo
flecks of snow swirl by

tawny rabbit tufts
snatch hare tracks from crusted snow
my gaze blazes trail

chocolate red bells
in the tray on the table
January 7

green leaf, dirty pane
stares at the naked buckthorn
steamy dimpled cheeks

no one understands
the winter frosted writer
curled up on the bed

Sunday, January 7th, 2007

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We chanted The Heart Sutra again in December. This time it was for joy. The teacher was wearing her rakusu, the one her teacher before her gave her in 1978. She said she doesn’t wear it much because it’s old and she wants to preserve it. But she used to wear it all the time when she taught her writing classes. She talked about sewing the rakusu, Buddha’s robe, and referenced when she wrote about it in one of her books. She talked about the symbols, the rice fields and insects and all of life.

All of Life.

She told us about the Square Papers, the bloodline. And that she never knew what her papers said because she was afraid to open them and unravel the intricate folding. But then a friend of hers who knew the way of creases and folds, opened the papers on the mesa in Taos and told her what was written. It was a few years to the day her teacher died. It wasn’t planned. It just happened that way. Some larger unfolding.

She said her name means One Who Embraces One’s Life and Others with Magnanimous Mind.

She talked about being ordained at Clouds in Water Zen Center in Minnesota. And then she said this was the first time she had signed anyone’s rakusu in a Jukai Ceremony. Jukai is a Lay Ordination, a ceremony of giving and receiving. She said she didn’t feel right about signing for anyone – until after her great failure. Then she knew it was okay.

That night she asked her student to talk to us about The Heart Sutra. The student spoke on the history of the sutra and about Hakuin and the sound of one hand clapping. She referenced him as one of few who accepted women of the cloth. She told us The Heart Sutra was The Great Mantra and that it had been distilled down from the tens of thousands of verses that preceded it. Then she had us each draw a verse from a bowl and do a 7 minute writing practice on the words we had drawn.


Here is the verse I chose from the bowl. It was written on a neon pink Post-it:

in emptiness
no taste
no touch
no dharma


Here is the 7 minute writing practice:

In Emptiness – No Taste, No Touch, No Dharma – December 6th, 2006

Emptiness – a glass bowl on an empty table. Nothing but sparkle snow. That’s what Harlequin said – sparkle snow. No taste. No touch. No teaching. No teachers. There is nothing left but me. Small on the cushion. Long in Spirit. High in mind. Walking to the white cross along the Morada. Carried on the backs of those that came before me. They walked for me. And now I am free. In emptiness, no taste, no touch, no dharma. If my Soul cries, I can relieve it. A single flake on the toe of my boot. An ant crawling along a purple sky – the rhythm is haiku 5-7-5-5-7-5.

5 Say No Taste No Touch
7 In Emptiness a Night Jar
5 Cries Itself to Sleep

5 I Heard The Silence
7 And I Thought It Was The Sun
5 It Was Only Rain

After we wrote a practice on each verse, a few students read what they had written. Then we chanted an old version of The Heart Sutra while our teacher kneeled on the floor and signed the student’s rakusu. They each stood and hugged. And the cloth was passed around, hand to hand. If memory serves me, it read, Kanpo Kazan Taos. Kazan is Mountain.

Before we left the zendo that night, our teacher told us to meditate on the meaning of the last verse before falling asleep. In writing as practice, we are making space to receive.


GATE GATE PARAGATE
PARASAMGATE
BODHI SVAHA

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



THE GREAT PRAJNA PARAMITA HEART SUTRA


AVALOKITESHVARA BODHISATTVA
LIVING IN DEEP PRAJNA PARAMITA
CLEARLY SAW ALL FIVE SKANDHAS EMPTY
CROSSED BEYOND ALL SUFFERING AND MISERY
LISTEN SHARIPUTRA, LISTEN
FORM IS EMPTINESS
EMPTINESS IS FORM
FORM IS EXACTLY EMPTINESS
EMPTINESS EXACTLY FORM
THE SAME IS TRUE OF FEELING AND PERCEPTION
THE SAME IS TRUE OF INTELLECT AND CONSCIOUSNESS
LISTEN SHARIPUTRA, LISTEN
ALL DHARMAS ARE MARKED BY EMPTINESS
NOT BORN, NOT DESTROYED
NOT STAINED, NOT PURE
WITHOUT LOSS, WITHOUT GAIN
IN EMPTINESS NO FORM NO FEELING
NO PERCEPTION NO INTELLECT NO CONSCIOUSNESS
NO EYE NO EAR NO NOSE
NO TONGUE NO BODY NO MIND
NO COLOR NO SOUND NO SMELL
NO TASTE NO TOUCH NO DHARMA
NO SEEING AND SO ON TO NO THINKING
NO IGNORANCE, NO END OF IGNORANCE
NO OLD AGE AND NO DEATH
NO ENDING OF OLD AGE AND DEATH
NO SUFFERING, CAUSE OR END TO SUFFERING
NO PATH, NO WISDOM AND NO GAIN
SINCE THERE IS NOTHING TO GAIN
THE BODHISATTVA LIVES AS PRAJNA PARAMITA
SINCE THERE IS NO HINDRANCE IN THE MIND
THERE IS NO FEAR
FAR BEYOND ALL DELUSION
NIRVANA IS ALREADY HERE
ALL PAST PRESENT AND FUTURE BUDDHAS
THROUGH THE BLESSING OF PRAJNA PARAMITA
AWAKEN TO PERFECT ENLIGHTENMENT
THEREFORE KNOW THAT PRAJNA PARAMITA
THE SACRED AND BRIGHT MANTRA
THE SUPREME AND UNSURPASSED MANTRA
BY WHICH ALL SUFFERING IS CALMED
IS TRUTH, NOT DECEPTION
GATE GATE PARAGATE
PARASAMGATE
BODHI SVAHA


Monday, December 18th, 2006

-related to post, WRITING TOPIC – TAOS

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7 leaves falling
through colors of burnt umber
I sit still and write



he knew John Williams
and called me last Saturday
the wind blew haiku



the title was changed
Matter of Love to Stoner
he said writing’s hard



past frosted windows
fluffy molecules tumble
in gray snowy skies



I am stone cold blue
for there is not enough time
to make money, write



fall celebration
frequent flashes of Old Bones
photographs don’t lie



freak entanglements
under morbid pitted skies
the moon howls winter



together, alone
I am two places at once
the heart trumps the head



snow on Taos Mountain
beckoning, calling me home
vibrant December



I breathe in and out
a puff of cold air circles
the lines on my face



Mercury direct
12 November unhinged
don’t close any doors



the old tree swing sways
empty from a lone oak branch
ghosts of winter sing



Sunday, November 12th, 2006

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