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“Not all those who wander are lost . . .”  J.R.R.Tolkien

What would it be like to take a walk and not know where you’re going to end up?  To just sling a pack across your shoulder and strike out southwest, no, let’s make that northeast, OK, just up and out?  I don’t mean when you’re not exactly sure what route to take, or it’s a trail new to you and you don’t know how rough or easy – I mean you have no earthly idea where you’re even headed.  Or how long you’ll be walking before you arrive. Or if you’ll arrive.

For someone like me, whose days are mostly lined out in fifteen-minute blocks, to simply walk in the moment is such an alien concept it’s almost terrifying.  I’ve taken some pretty long walks over the years, fifty and a hundred miles some of them, but I always knew within a few hours when I expected to arrive at my final goal, and within a few square meters of where that goal was.  Unfolding big maps and memorizing the landmarks, dissecting guidebooks (literaly, to rearrange the torn-out pages), scratching notes on little cards I’d carry with me along the way – they’re all metaphors for this planned-out predetermined regimented life of mine.  Once in a while I might stray from the trail and wander the woods, but I always know to be home by dark.  Yet by even the most wildly generous estimate my life is now two-thirds over.  Do I remember where I’m headed?

Friday morning Linda and I are going to pick up my eighty-something parents in Winston-Salem and drive to the Greensboro Coliseum to attend Josh’s graduation from UNCG.  Can I even list the obstacles that have made his path of the past ten years so uncertain?  The ones he never imagined he could succesfully negotiate but did, the ones that crushed him more than once, the ones he just had to hoist on his back and carry, sweating, all along the way?  Many times he and we too have doubted there even was a path, much less a way to travel it.  But in the past few months there have been subtle signs, like seeing the first trout lily and knowing spring has arrived, that this is real. It IS going to happen.  One of the sweetest images is that of my mother discovering, as she unpacked boxes from their recent move back home to North Carolina, the blazer she wore as a UNCG (then “Women’s College”) graduate sixty-three years ago, a “‘49” pin still attached from one of her reunions.

Way to go, Josh!  Your GrandMommy will be wearing that blazer, and I will be wearing admiration in my heart for your achievement.  You toughed it out and I’m proud of you.  It’s the steep path that brings us to high places.

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Which of us ever really knows exactly where we’re headed?  What the heck am I talking about?  Career, marriage, kids, grandson, church, yardwork, a vacation from time to time – enough there to fill any number of present hours and more than enough to fill any contemplations of the future.  Is it only old guys and ascetics who take time out for a minute and ask, Where am I headed?  For those like me who are too fidgety for a meditation practice, too cocky for a psychologist, too type A to spend time doing nothing instead of something, there’s a window to throw open and stick your head out when those questions tap on the pane.  Poetry, of course, the opening window.  When I read a poem that pierces my id I don’t get all the answers: I discover the questions.

Thank you, Cathy Smith Bowers, for this poem and all it doesn’t say.  I was reading Cathy’s book Like Shining from Shook Foil as part of a project to collect poems to be displayed at the NC Zoo.  Among others, I want to include one by each of our NC Poet Laureates, back to James Larkin Pearson.  I started at More Weight on page 119 and read the book backwards (I know, I know, they make a pill for that sort of thing).  Hers is a poetry of arresting images, lightning, and jagged truth-saying.  When I reached poem #1, perhaps from being filled with everything that had come before, all the questions clamored loud and I knew this is the one for the Zoo, and for me.

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Paleolithic

We love these old caves – Lascaux,
Altamira – and walk carefully
the way we always enter the past,
our hands bearing
the artificial light of this world.

We imagine those first hunters
crouched, conjuring luck,
carving into rock-swell
their simple art – whole herds of bison,
the haunches, the powerful heads, floating
orderless along the walls.
And some are climbing sky
as if they were stars, planets
obiting something they cannot see.
Centuries will pass before they
right themselves, their hooves
coming down onto the deep
wet floor of leaf-fall.
Remembering earth.
Remembering where it was
they were headed.

© 2010 Cathy Smith Bowers.  from Like Shining from Shook Foil, Press 53.  First appeared in Southern Poetry Review.

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Cathy Smith Bowers was named North Carolina Poet Laureate by Governer Bev Perdue in 2010.  Press 53 (Winston-Salem, NC) published her new and collected poems, Like Shining from Shook Foil, that same year.

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April 27, 2012 – first scarlet tanager of spring, Elkin, NC.

If I had an hour and good binoculars I could spot him, but I know he’s there.  There’s no other song like his, just exactly like a robin with a 40 pack-year smoking history.  He always arrives about a week after the big oaks in our neighborhood have fully leaved, and then he hangs out way up in the canopy.  I’ll come back tomorrow when the sun is high, follow my ears, and when he lunges from the greenery for a moth or a beetle, I’ll have him.  A red like no other red.

Last week Linda was drawing at her desk when Saul ran in from the next room.  “Granny, I seed a red-headed woodpecker on the bird feeder!”  He pulls her into the den and there is indeed a woodpecker on the feeder, a male downy, patch of red at his nape.  “Good, Saul!  That is a woodpecker.  But a red-headed woodpecker has a head that is red all over.”  About fifteen minutes later Saul is back.  “Granny, see this red-headed woodpecker!”  And it’s head is red all over.  A bright fiery cardinal.

Red birds.  So startling!  So noticeable, so eye-catching!  Is the northern cardinal, Cardinalis cardinalis, the state bird of seven out of fifty because it’s so familiar and recognizable or because it is exotic, unbelievable that something so bright would allow itself to be seen by mortals?  I remember the first time I actually saw Piranga olivacea, the scarlet tanager.  I’d heard plenty calling and singing but never spotted one.  June 17, 1994, I was visiting my brother-in-law Skip for a weekend at his place in southern Ohio (off the beaten path doesn’t half do it justice).  Mid-morning with the binocs, about to quit because of warbler-neck (cricked back searching the tops of trees for spots of color), and there he was.  Perched high in brightness, not even attempting to conceal his flame.

Just to share a moment of that creature’s living breath, to see something in clarity and commonplace that up until that moment has been so elusive and so desired, it is to feel the earth, nature, creation expanding around me and I am a single cell in the body of God.  And if the sun is shining tomorrow, I think I’ll walk around the block and try to see another.

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It’s been almost a year since I last saw a scarlet tanager.  It’s been about a year since I last read Mary Oliver’s book, Red Bird.  I need to return to both.  Scarlet tanagers aren’t rare, although one has to go where they are to see one.  And look up.  Mary Oliver’s poems don’t seem rare.  So conversational, so commonplace.  Being alive is not particularly rare.  Six-plus billion of us Homo sapiens are engaged in it today. Out of the one-thousand four-hundred and forty minutes in each day, I don’t pause to consider many of them rare.

Shouldn’t I?  Read this poem with me.  Read and let us, you and I, share a moment of each other’s living breath.

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Red Bird Explains Himself

“Yes, I was the brilliance floating over the snow
and I was the song in the summer leaves, but this was
only the first trick
I had hold of among my other mythologies,
for I also knew obedience: bringing sticks to the nest,
food to the young, kisses to my bride.

But don’t stop there, stay with me: listen.

If I was the song that entered your heart
then I was the music of your heart, that you wanted and needed,
and thus wilderness bloomed there, with all its
followers: gardeners, lovers, people who weep
for the death of rivers.

And this was my true task, to be the
music of the body.  Do you understand?  for truly the body needs
a song, a spirit, a soul.  And no less, to make this work,
the soul has need of a body,
and I am both of the earth and I am of the inexplicable
beauty of heaven
where I fly so easily, so welcome, yes,
and this is why I have been sent, to teach this to your heart.”

from Red Bird, Mary Oliver, Beacon Press, © 2008 by Mary Oliver

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There were more eyes looking into the pot than looking out.

This metaphor has stuck with me for forty years.  Telling the story is my German host father Dieter, a ruddy, lusty little man much more prone after a few glasses of Rheinwein to grab his tall wife around the waist and waltz her about the living room than to recite poetry.  But the eyes are the punch line of the story.  After we’ve finished the second bottle, or perhaps the third, he launches into stories about the war years.  Not so much for me, the American exchange student who would live with his family in West Berlin for a year, but more for his own son.  To remind him again how easy his life is.  To remind him again how lucky he is that his father has provided him with this bungalow in Spandau; the education; the fat goose and full pot.

Dieter was a Prussian conscript on the Eastern front, eighteen years old in 1945, the same age as I was in 1971 when he opened his home to me.  He survived, returned to the farm, and spent the following years slowly starving.  Tempted they were, so tempted every winter to boil the seed potatoes.  And finish dying.  He would dig the bare fields over again and find a couple of shriveled tubers for his mother to make into a thin soup.  There was no meat, no eye of grease floating on top of the grey water to peer back at the hungry eyes looking in.

When he told these stories Dieter would grin as if daring me to believe his tales, but he never lost a defined hardness around his eyes.  Klaus, also my age, would just roll his eyes.  He never used the word, but he acted as if he considered his father an unreconstructed fascist.  Klaus had to invite his leftist friends to the house when his father was working (which Dieter did about all the time).  To have the slouching longhairs show up in the father’s presence invariably ended in a shouting match.  When I had lived as his guest-brother for nine months, Klaus took me to Ernst Reuter Platz for the huge May Day march (I think I even carried a red flag), just blocks from the concrete, razor wire, mines, attack dogs that during those years still separated Dieter from his cousins in the East.

Too many German political parties for a teenager who couldn’t at that time clearly state the difference between a Republican and a Democrat: I just watched, took it in, tried to feel less confused.  What exactly is it that we’re protesting here?  Nowadays I can get on my soapbox about the gap between the haves and have-nots in our great prosperous oppressive nation, about how badly we need a national health program and how impossible it is to conceive of our self-serving politicians even taking one step toward consensus.  But all politics must evaporate before that stark image: the desperate eyes looking into the pot, and no eye answering their supplication.

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In Counting the Lost, Gail Peck unveils image after grave image.  These ekphrastic poems are inspired by drawings and photographs of World War II: refugees, displaced Jews, concentration camp victims.  Each poem is the story of a person, a human soul caught in high relief and presented to us, the readers, that we may share their life.  Their death.  Faces and hands, mostly, mothers and children.  You might read my description here and say, “How utterly depressing,” and the poems are indeed sobering, but taken together they are a memorial that has lifted me to a higher place.  I feel the shared humanity of us all.  Just as the Jew is healed by his ritual of the mourner’s Kaddish and the Roman Catholic by the sweeping Latin of the Requiem, so may we be healed by remembering those that have suffered.  By remembering, as Gail states in her dedication, all those who have perished in war, especially the children.  Faces turning face-to-face, eyes seeing eye-to-eye.

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Seed for the Planting Must Not Be Ground
after Käthe Lollwitz, drawing

Her arms are shelter, her body.
Every birth was a wake of pain
until they were lifted from her, washed
and placed on her breast to nurse.
She touched fingers and toes.

Older now, they are playing with
a wooden wagon, a ball, while she ladles
soup into bowls, trying to scoop
a bit of potato in each.

Hans spills his, and she wants to cry –
instead, takes spoonfuls from the other portions
She will never let these boys go to war.
Look at Berlin, windows with nothing behind.

Come see the hunger of six eyes,
hear the begging of stomachs.
Once there was an apple she cut
into threes, telling the boys to chew slowly.

The war goes on – who can rest?
Peter, Herman, Hans, almost numb
to the constant sirens, and explosions,
want to stay in their beds and sleep.
Count them and count them, the numberless sheep.

from Counting the Lost, Gail Peck, © 2011, Main Street Rag Publishing

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Read more poems by Gail.

Also by Gail Peck:   Thirst

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That’s me, seated lower right-hand corner.

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