An Unimaginable Zero Summer

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At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.

I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving…
{Burnt Norton}

Than that of summer, neither budding nor fading,
Not in the scheme of generation.
Where is the summer, the unimaginable
Zero summer?
{Little Gidding}

~T.S. Eliot, from Four Quartets

 

ZeroSummerE-471x630Zero Summer by Makoto Fujimura

 

“Zero Summer” imagines the unimaginable horror of Hiroshima and Nagasaki, and yet points to epiphanic awakening that transcend human imagination at the same time. T.S. Eliot, who coined this term in his “Four Quartets,” longed for that eternal summer, birthed out of the “still point,” where imagination is met with grace and truth.
~Makoto Fujimura

 

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As a grade school child in November 1963, I learned the import of the U.S. flag being lowered to half mast in response to the shocking and violent death of our President. The lowering of the flag was so rare when I was growing up, it had dramatic effect on all who passed by — something very sad had happened to our country, warranting our silence and our stillness.

Since 9/11/01, our flag has spent significant time at half mast, so much so that I’m befuddled instead of contemplative, puzzling over what the latest loss might be as there are so many, sometimes all happening in the same time frame.  We no longer are silenced by this gesture of honor and respect and we certainly are not stilled, personally and corporately instigating and suffering the same mistakes against humanity over and over again.

Eliot wrote the prescient words of the Four Quartets in the midst of the WWII German bombing raids that destroyed people and neighborhoods. Perhaps he sensed the destruction he witnessed would not be the last time in history that evil visits the innocent, leaving them in ashes. There would be so many more losses to come, as Makoto Fujimura illustrates in his artistic depiction of the horrors of Hiroshima and Nagasaki transcending to an epiphany of the human imagination.  And then the horror of 9/11/01.

There remains so much more sadness to be borne, such abundance of grief that our world has become overwhelmed and stricken and it seems we’ve lost all imagination for “a grace of sense”.

Eliot was right: we have yet to live in a Zero summer of endless hope and fruitfulness, of spiritual awakening and understanding.  Where is it indeed?

We must return, as people of faith, as Eliot did, as Fujimura has, to that still point to which we are called on a day such as today.  We must be stilled; we must be silenced. We must grieve the losses of this turning world and pray for release from the suffering we cause and we endure.  Only in the asking, only in the kneeling down and pleading, are we surrounded by grace.   A flag half lowered may have lost its power to punch our gut, but we are illuminated by the Light,  a grace of senses on the move in our lives.

 

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“There Are No Words” written on 9/11/2001
by Kitty Donohoe

there are no words there is no song
is there a balm that can heal these wounds that will last a lifetime long
and when the stars have burned to dust
hand in hand we still will stand because we must

in one single hour in one single day
we were changed forever something taken away
and there is no fire that can melt this heavy stone
that can bring back the voices and the spirits of our own

all the brothers, sisters and lovers all the friends that are gone
all the chairs that will be empty in the lives that will go on
can we ever forgive though we never will forget
can we believe in the milk of human goodness yet

we were forged in freedom we were born in liberty
we came here to stop the twisted arrows cast by tyranny
and we won’t bow down we are strong of heart
we are a chain together that won’t be pulled apart

 

The Cathedral to Memory

 

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I planted an apple tree in memory
of my mother, who is not gone,
 
but whose memory has become
so transparent that she remembers
 
slicing apples with her grandmother
(yellow apples; blue bowl) better than
 
the fruit that I hand her today. Still,
she polishes the surface with her thumb,
 
holds it to the light and says with no
hesitation, Oh, Yellow Transparent . . .

they’re so fragile, you can almost see
to the core. She no longer remembers how
 
to roll the crust, sweeten the sauce, but
her desire is clear—it is pie that she wants.
 
And so, I slice as close as I dare to the core—
to that little cathedral to memory—where
 
the seeds remember everything they need
to know to become yellow and transparent.
~Catherine Essinger “Summer Apples”  from What I Know About Innocence

 

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A seed hidden in the heart of an apple is an orchard invisible. 
~Welsh Proverb

 

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It is at late summer and harvest time when I most clearly remember my mother – she is standing for hours at the kitchen sink peeling yellow transparent apples, readying them for sauce, and always a pie.

The apples were only part of her daily work:  she canned quarts and quarts of green beans, peeled the peaches and pears for canning, sauced the plums, pickled the cucumbers, jammed the strawberries and raspberries, syruped the blackberries, froze the blueberries, cut the kernels off the corn cobs, baked up the zucchini into breads and cakes, dried the filberts, dug and stored the potatoes,  dehydrated the tomatoes.

Over the years I’ve stood by the sink and the stove and have done what my mother used to do, usually not as well but with the same mission of preserving what I can for another day.  We have been fed from our summer labors.

I know well these trees and vines from which the fruit grows.  I plant the seeds which somehow know to produce when tended and nurtured.  I stand and peel and wash and boil and stir as this is what generations of my family’s women did before me.

May it ever be.

 

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A Probe for Sweet Peas

 

 

A white vase holds a kaleidoscope of wilting sweet peas
captive in the sunlight on the kitchen table while

wafting morning scent of pancakes
with sticky maple syrup swirls on the plate,

down the hall a dirty diaper left too long in the pail,
spills over tempera paint pots with brushes rinsed in jars after

stroking bright pastel butterflies fluttering on an easel
while wearing dad’s oversized shirt buttoned backwards

as he gently guides a hand beneath the downy underside
of the muttering hen reaching a warm egg hiding in the nest

broken into fragments like a heart while reading
the last stanza of Dover Beach in freshman English

Just down the hall of clanging lockers
To orchestra where strains of “Clair de Lune” accompany

the yearning midnight nipple tug of a baby’s hungry suck
hiccups gulping in rhythm to the rocking rocking

waiting for a last gasp for breath
through gaping mouth, mottled cooling skin

lies still between bleached sheets
illuminated by curtain filtered moonlight just visible

through the treetops while whoosh of owl wings
are felt not heard, sensed not seen.

Awaking to bright lights and whirring machines
the hushed voice of the surgeon asking

what do you see now, what can you hear, what odor
and flavor, what sensation on your skin

with each probe of temporal lobe, of fornix
and amygdala hidden deep in gray matter

of neurons and synaptic holding bins of chemical transmitters
storing the mixed bag of the past and present

to find the offending spot to be erased of electrical
impulses that seize up all remembrance, all awareness

and be free again to live, to love, to swoon at the perfume
of summer sweet peas climbing dew fresh at dawn,

tendril wrapping over tendril,
the peeling wall of the garden shed.

 

 

 

 

Like Pearls Slipping Off a String

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I believe the nicest and sweetest days
are not those on which anything very splendid
or wonderful or exciting happens
but just those that bring simple little pleasures,
following one another softly,
like pearls slipping off a string.
~L.M. Montgomery from Anne of Avonlea

 

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Pearl by pearl, the simple pleasures slip away so softly in these precious few days of family fullness and warmth.

It is almost too much to bear knowing these pearls can never be strung together again in quite the same way, but I rush to gather them up together in the deep pocket of my memory for safe-keeping.

And then I remember they will always be there, ready to be touched and treasured when I need them, each one more splendid and wonderful and exciting than I would ever have imagined at the time.

 

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Shortcake With Soul

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A cobbler is shortcake with a soul…
~Edna Ferber

 

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Just when it has seemed I couldn’t bear
one more friend
waking with a tumor, one more maniac

with a perfect reason, often a sweetness
has come
and changed nothing in the world

except the way I stumbled through it,
for a while lost
in the ignorance of loving

someone or something, the world shrunk
to mouth-size,
hand-size, and never seeming small.

I acknowledge there is no sweetness
that doesn’t leave a stain,
no sweetness that’s ever sufficiently sweet.

Often a sweetness comes
as if on loan, stays just long enough

to make sense of what it means to be alive,
then returns to its dark
source. As for me, I don’t care

where it’s been, or what bitter road
it’s traveled
to come so far, to taste so good.
~Stephen Dunn from “Sweetness”

 

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Even when the softness of sunset lingers long
with residual stains of dappled cobbler clouds
lasting long to the sweetness of next day’s dawn,
I’m reminded to “remember this, this moment, this feeling”~

I realize that it will be lost, slipping away from me
in mere moments, a sacramental fading with time.
I can barely remember the sweetness of its taste,
so what’s left is the mere stain of its loss.

Walking this life’s cobbled path,
only guessing where it leads,
I ponder the messy sweetness
of today’s helping of soulful shortcake,
treasure it up, stains and all,
knowing I could never miss it
if I didn’t taste and savor it to begin with.

 

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A Field To Go Back To

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You wake wanting the dream
you left behind in sleep,
water washing through everything,
clearing away sediment
of years, uncovering the lost
and forgotten. You hear the sun
breaking on cold grass,
on eaves, on stone steps
outside. You see light
igniting sparks of dust
in the air. You feel for the first
time in years the world
electrified with morning.

You know something has changed
in the night, something you thought
gone from the world has come back:
shooting stars in the pasture,
sleeping beneath a field
of daisies, wisteria climbing
over fences, houses, trees.

This is a place that smells
like childhood and old age.
It is a limb you swung from,
a field you go back to.

~Scott Owens “The Arrival of the Past” from Down to Sleep

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Returning to my mother’s Palouse country to meet again with my aunt and cousins:

(her brother’s widow, now 97, her nieces and nephews–those who still farm and those who wish they still could)

I know these wheat fields lie deep in my DNA and my heart is comforted by the familiarity of the tone and hue of the soil, the freshness of the breezes, the undulation of the grain over the hillsides, the lilt of the meadowlark’s song.

This is always a welcome return home as I feel my mother’s genes rise up within me to greet this family, and know that yes, to this too I belong.

It is a rare and abiding comfort.

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An Audience of Terminal Patients

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Write as if you were dying. At the same time, assume you write for an audience consisting solely of terminal patients. That is, after all, the case.
~Annie Dillard from “Write Till You Drop”

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You’re going to feel like hell if you wake up someday and you never wrote the stuff that is tugging on the sleeves of your heart: your stories, memories, visions, and songs–your truth, your version of things–in your own voice. That’s really all you have to offer us, and that’s also why you were born.

~Anne Lamott in a recent TED Talk

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I began to write after September 11, 2001 because that day it became obvious to me I was dying, albeit more slowly than the thousands who vanished that day in fire and ash, their voices obliterated with their bodies.   So, nearly each day since, while I still have voice and a new dawn to greet, I speak through my fingers and my camera lens to others dying around me.

My good friend, Sara, who I’ve known and loved half my life, is fighting for her life in an all day cancer surgery today, having fought a chronic disease and a totally different cancer once before and won.  She knows well the hard cost of winning even when the odds aren’t good,  yet still has a courage in her to fight once again.

That will to fight is heavy on my mind today.

We are, after all, terminal patients, some more imminent than others, some of us more prepared to move on, as if our readiness had anything to do with the timing.

Each day I too get a little closer, so I write and share photos of my world in order to hang on awhile longer.  Each day I must detach just a little bit, leaving a small trace of my voice and myself behind.  Eventually, through unmerited grace, so much of me will be left on the page there won’t be anything or anyone left to do the typing.

There is no moment or picture or word to waste.

 

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