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Posts Tagged ‘nature’

[including poems by Mary Oliver and Bill Griffin]

Because they are themselves and we have begun to see that they are,
++++because we are not humble but have been humbled,
++++because we can’t begin to love ourselves until we love them,
++++because we can’t love them unless we know them,
++++because in a world that scoffs at the word “sacred” we have
++++++++ accepted a sacred calling,
for all these reasons and more we protect them from us.

We are going to count the salamanders in Dorsey Creek. Before we leave Tremont and hike to their watershed we spray our boots with weak bleach (to kill the Ranavirus). We wear gloves so that we don’t smear them with our own flora (they have a rich commensal surface bacterial that keeps them healthy). We touch them only briefly and hold them in water in bags, not in our hands (a scant few grams of flesh, thin and magical skin, even the heat of our palms would stress them). Just a few minutes to check for gills if they’re still larvae, to count their spots and markings, look for cheek chevrons, flip and inspect the tint of their bellies, then we take them back to the leaf litter or flashing stream where we found them. Perhaps each one may be counted again, perhaps dozens of times over a ripe salamander lifespan of 20 years.

And perhaps, rising from our knees with new names in our mouths (Desmognathus monticola, quadramaculatus, conanti) and something sacred in our hearts, perhaps we will see the world as if for the second time, the way it really is.

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Alligator Poem
++++ Mary Oliver (1935-2019)

I knelt down
at the edge of the water,
and if the white birds standing
in the tops of the trees whistled any warning
I didn’t understand,
I drank up to the very moment it came
crashing toward me,
its tail flailing
like a bundle of swords,
slashing the grass,
and the inside of its cradle-shaped mouth
gaping,
and rimmed with teeth –
and that’s how I almost died
of foolishness
in beautiful Florida.
But I didn’t.
I leaped aside, and fell,
and it streamed past me, crushing everything in its path
as it swept down to the water
and threw itself in,
and, in the end,
this isn’t a poem about foolishness
but about how I rose from the ground
and saw the world as if for the second time,
the way it really is.
The water, that circle of shattered glass,
healed itself with a slow whisper
and lay back
with the back-lit light of polished steel,
and the birds, in the endless waterfalls of the trees,
shook open the snowy pleats of their wings, and drifted away,
while, for a keepsake, and to steady myself,
I reached out,
I picked the wild flowers from the grass around me –
blue stars
and blood-red trumpets
on long green stems –
for hours in my trembling hands they glittered
like fire.

from New and Selected Poems, © 1992 by Mary Oliver, Beacon Press, Boston. Reprinted in The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street, © 2013, Trinity University Press, San Antonio, Texas.

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Sorceress’ lizard, bellows breath, fire worm, winged dog – O, little salamander, how you inspire us with your magic! Pliny the Elder recognized that you are not a lizard but ancient Greeks still rumored that you quench fire with the chill of your body. The Talmud explains you are a product of fire and immune to its harm. Perhaps during the long winters of the Middle Ages you emerged miraculously from the log thrown onto the hearth to substantiate your reputation. Marco Polo believed your true nature to be an “incombustible substance found in the earth.” And let’s not forget the fearful excretions of your skin, poisonous enough to kill the entire village if you fall into the well, fundamental ingredient of witches’ brews, irresistible aphrodisiac.

Little wriggling Caudata, the reality of your nature is more wondrous than myth. You eat small things that would starve larger creatures and yet you thrive; your biomass exceeds that of all the mammals in Great Smoky Mountains National Park. Your skin breathes – most of you don’t even have lungs! – and brews up a constellation of compounds that confound the biochemist. Some of you live 4 years with gills in the swift chill stream before becoming adults, others metamorphose within your eggs beneath forest duff and emerge fully formed, but all of you with your efficient ectothermic life plan grow and grow, make eggs, survive perhaps for decades. And Great Smokies holds more of your diversity than any other place in the world.

We are amazed! We students of SANCP Reptiles and Amphibians Course of 2021 are just astonished and awestruck. You are the coolest of the cool (ectotherms, that is)! We thank your Chief Sorcerer of Knowledge, Professor John Maerz, and Acolyte of Hands-On, Graduate Research Assistant Jade Samples, for sharing their lore, showing us how to find you, leading us to love you.

Salamanders – you rule!

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Salamander
++++ Bill Griffin

This is my gift –
++++++++ to change.
From Inadu Creek I leave behind
my frilly gills and climb
the spire of blue-eyed grass.
Having become a creature of air bathing
myself in dew, am I not still
a creature of water?

I invite you to discover
in each of my family our variations,
discern that every runnel, every spring,
every palm-sized cup of moisture
holds its lithe expectation, for this
is my gift to you –
++++++++ to notice changes.

I will let you lightly touch
the welcome of my smoothness
while I drink a little warmth
from your hand. Now count
the dapples down my length,
measure the blush of my cheek,

then find when you descend
the eastern face of Snake Den Ridge
those subtle alterations my cousins
are accumulating until finally
they acquire a new name.

And when you have returned me
to my bed of blue-bead lily, then touch
a smooth place within yourself
and carry with you into the world
++++++++ your own changes.

 

from Snake Den Ridge: a bestiary, © 2008 by Bill Griffin, March Street Press, Greensboro, NC. Illustrations and historical preface by Linda French Griffin.

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The Southern Appalachian Naturalist Certification Program is an adult education endeavor of Great Smoky Mountains Institute at Tremont and the University of Tennessee, Knoxville. Their mission of connecting people with nature continues even during pandemics! The science-based educational programs have evolved with science-based precautions and modifications to allow small communities to form for a weekend at a time.

Many thanks to John DiDiego, GSMIT Education Director, and to the awe-inspiring instructors for the July, 2021 SANCP Reptiles and Amphibians course, Dr. John Charles Maerz from University of Georgia, and his intrepid research assistant, Jade Samples. We crammed a semester’s worth of herpetology into 36 hours out of doors in the Smokies. (Did I sleep? Maybe a little.)

All photographs by Bill Griffin. Plethodon jordani on blue-eyed grass by Linda French Griffin. Header art also by Linda Griffin.

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2014-06-30a Doughton Park Tree

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Think of the wren / and how little flesh is needed to make a song.

[poem by Galway Kinnell]

The storm of the commonplace, does it grumble louder these days? The daily downstream of task and grind and conciliation, when did it become all fierce foam, rapids, never a moment to look up from paddling and glimpse a tree swallow’s emerald benediction? When did everything get so damn hard?

This morning there is too much inner clangor for me to pick up a pen, much less face a blank page. No, nothing “worthy” of recording: Who would care to read the quotidian health bulletins of my nonagenarian parents; to join me in ticking off one hundred and one conditions that need to be met before we can gather in person at church this Sunday; to listen to my inner dialogue with vaccine refusers and wonder if Linda and I will ever again feel safe singing with our regional chorus? Why worry about a little heat exhaustion working on the Elkin Creek trail tomorrow when the whole west coast is desiccating and blowing away?

Meanwhile outside dank vapors of rumination, mud of gray matter, rigid constricting cranium; meanwhile outside in the press of North Carolina foothills summer afternoon, starting to sweat just thinking about it; meanwhile outside no matter how hot, how thorny, how dispiriting . . . in the neighbor’s yard a wren is singing.

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Why Regret?
Galway Kinnell – 1927-2014

Didn’t you like the way the ants help
the peony globes open by eating the glue off?
Weren’t you cheered to see the ironworkers
sitting on an I-beam dangling from a cable,
in a row, like starlings, eating lunch, maybe
baloney on white with fluorescent mustard?
Wasn’t it a revelation to waggle
from the estuary all the way up the river,
the kill, the pirle, the run, the rent, the beck,
the sike barely trickling, to the shock of a spring?
Didn’t you almost shiver, hearing book lice
clicking their sexual dissonance inside an old
Webster’s New International, perhaps having just
eaten out of it izle, xyster, and thalassacon?
What did you imagine lies in wait anyway
at the end of a world whose sub-substance
is glaim, gleet, birdlime, slime, mucus, muck?
Forget about becoming emaciated. Think of the wren
and how little flesh is needed to make a song.
Didn’t it seem somehow familiar when the nymph
split open and the mayfly struggled free
and flew and perched and then its own back
broke open and the imago, the true adult,
somersaulted out and took flight, seeking
the swarm, mouth-parts vestigial,
alimentary canal come to a stop,
a day or hour left to find the desired one?
Or when Casanova took up the platter
of linguine in squid’s ink and slid the stuff
out the window, telling his startled companion,
“The perfected lover does not eat.”
As a child, didn’t you find it calming to imagine
pinworms as some kind of tiny batons
giving cadence to the squeezes and releases
around the downward march of debris?
Didn’t you glimpse in the monarchs
what seemed your own inner blazonry
flapping and gliding, in desire, in the middle air?
Weren’t you reassured to think these flimsy
hinged beings, and then their offspring,
and then their offspring’s offspring, could
navigate, working in shifts, all the way to Mexico,
to the exact plot, perhaps the very tree,
by tracing the flair of the bodies of ancestors
who fell in this same migration a year ago?
Doesn’t it outdo the pleasures of the brilliant concert
to wake in the night and find ourselves
holding hands in our sleep?

Why Regret? is from Strong Is Your Hold. Copyright © 2006 by Tom Galway Kinnell. Houghton Mifflin Company.

Galway Kinnell — Poetry Foundation

Galway Kinnell — Poets.org

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2014-07-13 Doughton Park Tree

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[with 4 poems by Richard Allen Taylor]

I need one of those little fountains that floats in your birdbath. I need more gravel for the driveway. I need a sharper macro lens. I need to check my investment strategy.

I need to clean the hummingbird feeders. I need to sit down with my life insurance agent. I need to pull the crabgrass between the lilies. I need to empty the dehumidifier. I need an empty inbox.

I need to listen to my sister. I need to reassure Linda. I need to tell Amelia a story. I need to thank Jill and Sue and Josh and Allison . . . I need to thank a whole lot of people. I need a cool morning on the porch with birdsong and poems by my friend Richard. I need the forgiveness I didn’t know I needed.

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The Train to Redemption

I almost miss it, but catch the last car,
find a window seat next to a woman
who opens her bag of sewing –
needles, pins, fabric spilling over
her knees – and what she’s sewing,
I don’t know. She says nothing
as I lean my head against the sad
window, and watch the land scroll,
trees waving like sword-grass
in a rush of green infantry, charging
the horizon until the sun sinks
and pulls the sky down with it.

After an hour of darkness, the lights
of Redemption appear and the woman
hems while she hums, a tune I won’t name
because it’s one of those that sticks
in your head and drives you crazy for hours
once you hear it. As the train approaches
the station, the air in the car smells
like apples and rain, and this woman
who has not spoken to me, but has
the gift of threading her eyes
with whatever the moment requires,
stitches me with a look of forgiveness
I didn’t know I needed.

Richard Allen Taylor

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Maybe 2014? A good while back Richard Allen Taylor set himself the challenge of writing poems about angels; they make a marvelous collection. A marvelous concatenation. Conceptualization. Conciliation. Oh sure, Gabriel has a cameo, but these are Richard’s angels, your and my angels: the Angel of Bureaucracy; Angel of Minor Disputes; Angel of Pain. And the Angels of Hope.

What do I really need? How about you? Redemption, can that actually mean anything more than cashing in the winning lottery ticket? Richard in Armed and Luminous offers poems with humor, imagination, and gentle compassion that have redeemed my morning. Yes, there are angels here, more than you may have expected, but I wasn’t hoping for any glowing personage with wings. What I have discovered instead is a spirit that wells up in two persons’ hearts and allows them to truly touch.

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Angel of Hope

As she grows invisible, her confidence blooms,
a moonflower in darkness, buoyed by terrestrial air
that gives lightness to her presence.

To the man drowning in despair, the garden feels heavy.
Nothing grows as planned. Renegade vines pull down
the rusted trellis, fruit fallen and rotted.

She watches his waning moon fade somber
in the box-like night of a four-walled sky.
In one corner, a shadow thickens, crosses

from stone to path and pulses against
light promised but not yet come.
The man, still unaware of the angel

who waits at the edge of his surrender,
senses a ripple in the darkness and draws closer
to speak, but seeing nothing, keeps his peace

and bows his head – in prayer or resignation
who can say? The angel’s cloak, opaque,
wide-winged and flutter-flapped – hides her completely.

He has shuttered himself, but she sees what he needs
is hers to give. She unwraps, offers her spirit light
like a lover’s body, but only for a heartbeat.

She closes her cloak, knowing hope is a drug
best administered in small doses. She gives him enough
to swim, rise to the surface, breathe again.

Richard Allen Taylor

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Blue Ridge Mountains

The possibilities were infinite.
When God made this place

He could have made it flat
or barren or covered with ice

or submerged in a hot soup
of gases, but he chose this

contemporary design, mountains
sprigged with tallest pine,

oak, maple, and poplar,
cloud-catching peaks and spines

that radiate into folds. He
let there be light, and the bright

afternoon reflected green
from the nearest slopes,

now blue-gray from a distant arc,
Mt. Mitchell under siege

from a flotilla of clouds,
gray-hulled, white-sailed.

It was quiet here when God created
the vacuum, before He created air

and water to carry sound.
He threw stones and ice,

enough to squeeze the earth
into a ball. Before this windy

breath in the trees, before
the voices in the meadow

or the click of heels
against flagstone walks,

before dry leaves scratched
across the porch, God

did his best work in silence.
He assigned Mother Nature

to manage construction.
She pushed to get the work done,

pitting one continent against another,
subcontracting certain details

to volcanism and erosion, giving the piece
a mixed-media look. I stand on rock

born deep in the earth, spewed
to the surface, sparkled with mica.

the dinosaurs have left, and our turn
at the controls has just begun, our time

a thin sheet in the layers of time,
but already, we have begun the undoing.

Richard Allen Taylor

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Cello in Moonlight

The strings pull me
to a darkened house,
through a door left open
to a room, empty
except for a wicker chair,
where a woman
in a shawl of moonlight
sits weeping, a private ritual,
her voice the cello,
the cello her voice.

An intruder, I turn to leave.
She asks me to stay.

Richard Allen Taylor

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all poems from Armed and Luminous, Richard Allen Taylor, Main Street Rag Publishing, © 2016

Header art by Linda French Griffin

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