Expanding universe

I just finished reading Lisa Randall’s book about the Large Hadron Collider, which I read because…well, I knew it would be over my head as far as the applicable physics experiments go; but I was curious about what exactly the Higgs boson particle is and how it fits into the Standard Model of physics. And now I know. Sort of.

It is difficult not to feel a bit awed by the strides made in science as a result of rapid technological advances. On the sociological and personal level, I am not a big fan of rapid tech updates; they lead to planned or unplanned obsolescence and hence to constant capital expenditures and to waste (trash waste and time waste). The technology leads to experimental possibilities we would not have had otherwise, however.

At the close of the book, where the author wraps up the way engineering tech has dovetailed with abstract and speculative physics theories to show evidence for the Big Bang and the existence of quarks (among other things), there’s an illustration of the “ballooniverse,” an analogy physicists use to explain the expanding universe. I felt a rush of memory flooding me:

Freshman year in a seminar college. The class was Astronomical Physics and Cosmology. For context, Hubble had discovered red shift galaxies in 1929; cosmic microwave background was detected in 1964; Wilson and Penzias won the Nobel Prize–three years after my freshman year–for their work, which led to confirmation of an expanding universe. The term “black holes” was relatively new, coined during the mid-60s; and a theoretical explanation of them had not yet been determined. Oh, and because desk calculators were large and prohibitively expensive, my fellow students and I were using slide rules for calculations of stellar magnitudes.

Did I mention I had never taken a maths course beyond Algebra 2?

But our professor was enthusiastic and encouraging and loved using metaphors to help our teenaged brains decipher challenging concepts. I have forgotten most of his analogies, but the ballooniverse stayed with me. Everything in the universe is moving away from everything else. Our future is distance.

Physics classes in high school still use this 3-d visual analogy

So it seems at present. Each of us moving away from one another. Defoe’s narrator says the best method of avoiding plague was to run from it.

But oh, my Beloveds, how I wish to be close to you.

Opinion, argument

We have reached the part of my course in which I show my students what a fallacy is, how many forms of fallacies there are, and how a fallacy works–or, supposedly, doesn’t work–in an academic essay. This being an election year, and social media presenting so many examples of ideological opinions and shortcuts in thinking, there’s been no end of sources to demonstrate fallacies. Too many, in fact. My students have been so overwhelmed this year that I sheared my usual list-o-fallacies to four of the most common among freshman students. In doing so, I thought of my dad.

My father was well-instructed in formal argument at Wabash College in the early 1950s. His belief that people could disagree intellectually while maintaining friendly relationships probably stemmed from his experience there. His faith that people in groups could resolve conflict through careful listening and commitment to compromises came later. But what I want to mention here is how seldom it was that I heard my dad making an ad hominem attack, or any of the more frequent rational argument fallacies, until he was in his 60s or 70s and “the filter came off” a bit, post-retirement.

One time stands out in my memory. I was in my early teens and was telling my dad that I recalled being 6 years old and attending, with my parents and sister, an event at Dr. P’s house–a slide show of Dr. P’s trips to the Holy Lands. (Yes, in the 60s, that sort of event was a thing.) “Was he rich?” I asked, “Because I remember thinking his house was so big and so fancy compared to any other house I had been in.” And to my surprise, Dad gave a kind of derisive snort and said Dr. P was a “pretentious snob.” (A snob was one thing he couldn’t abide.)

Now, my dad had opinions, and expressed them bluntly; but he tended to frame his opposition to someone’s behavior or ideas, not to his (or her) person. He’d happily tell us that a friend was “just being a horse’s ass” (not that he is one), or say that someone was “talking through his butt” or that a politician’s proposals were “nothing but a load of horse manure”– “Oh, that fella, he talks like he gets his ideas from the back of a cereal box.” Or, “I don’t take him seriously when he yammers like a hypocrite.” Dad would say such things, but always qualified them with how a person spoke or acted–a subtle difference that I actually did pick up on. That’s why his ad hominem brush-off of the Dr. came as a surprise to me, I suppose. As my father neared 90, he got a bit more curmudgeonly, yet he genuinely believed that [most] people are inherently good.

I like to remember that about him.

~

Dark-eyed junco .. now appearing at our birdfeeders.

Practicing

When I was 15 years old and learning to type on my dad’s old manual typewriter, I decided to write my memories; I was composing memoir before I knew what memoir was, under the influence of fiction (David Copperfield). I lost track long ago of where those pages are, but I do recall that I wrote page after page. What on earth would an adolescent who was raised in loving and non-traumatic circumstances in a middle-class New Jersey suburb have had to say that was worth recording?

I wrote about losing a toy bear, and learning to read; receiving second-hand books with joy, reading voraciously, wondering what it would be like to be an orphan, and feeling terrified of dying. I wrote about the attic of our old house and learning to ride a bicycle. There were other things, too, that I can’t remember now. Generally, mundane and typical 1960s-childhood events–and descriptions galore. It felt important to write down the small details.

Perhaps I should have gone into journalism.

These days I’ve no interest in writing memoir. I have kept a journal since I was ten years old, and that constitutes enough self-indulgent scribbling on its own. I treasure, however, the practice all that writing gave me: practice in constructing sentences, employing vocabulary words, creating metaphors, using punctuation in various ways, expressing abstract ideas and describing concrete objects. Writing, learning to write, critique, and revision have been immensely valuable to me.

I’m not sure who I would be if I hadn’t been constantly writing (and reading). Maybe I’d have been a contemplative.

~~

All of which is to report to my readers, who may be experiencing their own obstacles to their art, that –yes– the writing continues in the face of loss and grief, anxiety, and the work of the body in the world, in the mundane spaces of daily grind and in the wakeful hours, and in the containers of dreamwork and consciousness. Right now, the writing is not “good,” not crafted, aware of itself, ready to speak to others than the self. It is, at present, more akin to what the Buddhists call practice.

Photo by Donald Macauley on Flickr | https://tricy.cl/2DSmsmY

~

Keep working, keep practicing, keep breathing.

Intermission w/reflection

First, many thanks to Lesley Wheeler for her Virtual Salon series–in this one, she reviews/interviews Elizabeth Savage and Yours Truly: Virtual Salon No. 6

~

Herewith, a different sort of response for National Poetry Month; and I’m not sure I would call it a poem so much as a reflection–indeed, a prayer. It’s too sentimental to work into a finished piece, perhaps. Let’s call it an intermission, as I have at least one more poetry collection to respond to before April closes.

~

Easter Prayer for My Dad

A wedge of mackerel clouds points to the southeast horizon where just beyond
a low hill church bells ring for Easter morning and a woodpecker states
chuck chuck chuck as it makes its straight flight across field from one dead
ash tree to another, blackbirds calling wooker-chee after the bells cease chiming.
I think of Dad, standing at the pulpit, hands raised in grace or supplication, his
voice sonorous in the high-ceilinged church, a man wearing a robe and collar
and white silk embroidered in gold having laid away the purple of sorrow and
preparation. All the church’s raiment white, and we the congregants wearing our
best clothes not to impress our neighbors but to let God know we are grateful and
this is the best we can do. We know it’s not enough, Dad tells us, the huge Bible
open before him, but God will understand our good intentions.

Years later I develop questions such as if no human can understand the mind
of God—thank you, Job—or know His ways, how can a human assure us of such magnanimity on God’s part? To which Dad answers, faith, which has no reason,
ergo the question’s moot. But years-ago Easters I sat on the smooth oak
pew, staring at my best shoes, which always pinched, and pretending that
left foot and right foot were conversing or perhaps arguing until the organ’s
major chords and the words “All rise” brought me back to the community
of believers and Dad’s bass voice led us along the five-barred staffs, stacked verses,
and triumphant alleluias of “Jesus Christ Is Risen Today.” And I knew
I was not good enough but believed that I could be forgiven, and if Dad has
offered me anything I can rely on it has been forgiveness—so today, as the
woods begins to soften into green and the chickadee pronounces its name
incessantly from the beech—Dad, I’ve so much to be grateful for.

                          Amen.

CH Chucrch

Church of my childhood, First Presbyterian Church of Hamptonburgh, New York

Observation, memory, & art

Simon Watts has died. Probably you have not heard of him. His father, Arthur Watts, was a talented illustrator for the British magazine Punch, among other publications. My readers are unlikely to be familiar with him, either. His sister, Marjorie-Ann Watts, is an illustrator, novelist, and memoir-writer in the UK. Her books are not readily available in the USA, so my readers probably do not know of her, alas. Simon’s maternal grandmother was Amy Dawson-Scott, aka “Sappho,” poet, novelist, and British literary hostess who founded English PEN. If you have not heard of her, you may have heard of PEN International, a major writers’ organization.

Oh, such interesting relations and associations!

Simon, who turned 90 a week ago, needs an elegy–but I cannot write one, at least not yet. We have been friends for 35 years; and even though he hasn’t lived nearby, we will miss his presence in our lives because he corresponded well. He sent letters, and emails with memoir documents attached, and photos. He kept up with our children even into their adulthood. He called us. We visited. He told the best stories–always mirthful and full of twists. He wrote articles on sailing, boatbuilding, furniture-making, and sent little essay-type memories to his friends and family.

He hailed from England, emigrated to the US in the 50s, and loved Nova Scotia, San Francisco, and Portugal. He has family in the US, Britain, and Australia.

~~

I was scouting about the internet looking at his work and his family’s stories and came upon his father’s article on drawing in black and white, written in 1934 about a year before Arthur’s early death (he died in an airplane accident). This section struck me as so relevant to my own understanding about both sketching and writing–good writing, poetry, journalism–is also, foremost, about observation and memory.

Speaking of memory and observation, how much I wish that I had trained mine more. How I wish I had employed that excellent method of looking at an object, going into another room to draw it, returning to refresh my memory, and so on, until that drawing was completed without it and the object ever having met, as it were. What a training for an artist interested primarily in character, who sees for a minute a face which, if he cannot draw from memory, he will never draw at all!

I believe I am right in saying that, ages before such a thing as photography was even guessed at, this was the method by which Chinese artists were taught … So developed did their powers of observation and memory become by this training that by shutting their eyes, opening them for the fraction of a second, and shutting them again, they could keep in their minds the visual image of what they saw long enough to be able to transfer that visual image to paper. It was in this manner that they were enabled to draw insects and birds in flight, and it is an indubitable fact that, when the camera was invented and ‘instantaneous’ pictures were produced, it was proved by comparison that these artists’ memorisations were perfectly accurate.

Stacks Image 61

I tried that method myself, but, having no stern master to goad me on and, alas that I should have to say it, being constitutionally lazy, dropped it; for it is the most exhausting form of study that I know.

~~

Simon Watts, the son of this artist (a man he barely remembers), inherited somehow–though expressed in an entirely different way–the recognition that we ought to note carefully and recall the world around us, revel in our memories, and share our knowledge and wonder in whatever ways we can.

He saved historic wooden sailboats by carefully measuring them, building his own versions, and reproducing his designs for others to build.

In the photo below, my daughter, at age 14, happily sails the Atlantic off the coast of Nova Scotia in the boat that graces the cover of his plans for Building the Norwegian Pram.

 

alice-pram 2004

Such memories fall into the category of immeasurably valuable. Right now, this photograph takes the place of any elegy I could compose. Sail on in peace, Simon!

 

Msr. Coulon & memorization

This post responds to Cleveland Wall, a poet for whom recitation is part of presentation and who reminded me of an old poem of mine I had written in response to a visual image on a postcard. The image and the poem are below, but what strikes me about recalling the work is that it is one of the few poems I have managed to memorize.

Ms. Wall memorizes much of her work and has presented at performances such as slam poetry events and No River Twice shows [Facebook video link below–you can catch a glimpse of me reading here, too.]

 

Alas, I have ever and always been terrible at memorization. In Sunday school, my younger sibling earned points for Bible verse memorizing at probably twice my pace. I enjoyed theater but never learned lines well enough to manage more than walk-on roles. Song lyrics came more easily, probably because the music helped cue me to the phrases.

You would think a poet–a versifier!–could commit her own work to memory. But no. Add that to my numerous failings.

~~

I bought the Louis Coulon postcard in 1980 at a New York City stationer’s. What I did not know then (hey, no interwebs) was that Coulon sat for a number of portraits and was a relatively famous postcard subject at the fin de siecle.

Here’s the poem, first published by the estimable Harry Humes in the now-defunct Yarrow: A Journal of Poetry in 1982.

 

La Barbe

Monsieur Coulon, my grandfather, wore large mustaches and a beard three meters long. He tied it to the bedposts by night to avoid strangulation in his sleep; as it was, he died of fever in 1904, and the beard grew two centimeters more the day after his death. For years I had nightmares, Grandfather silently choking me in the posterbed I’d inherited from his estate. I bobbed my hair before the style became fashionable; Mama said it was scandalous, but the dreams ceased. I left Nievre for Paris and America, to avoid strangulation.

In 1942, I visited Savannah, Georgia, where trees resemble men, their great beards choking ocean breeze. I dream of trees opening gray coffins into a humid night–

                           I am an old woman, now, and waiting–

         ah, listen:

the wind is speaking French, Grandfather, it takes my precious breath away!

~

Louis Coulon, beard

~

P.S.–I have updated my P&W directory entry. Check out https://www.pw.org/directory/writers/ann_e_michael

 

 

Repetition

Repetitive tasks often lead directly to boredom, then to daydream, and then–if forced to continue said task–to numbness. The sheer effort involved in repetitive operation makes for drudgery; if the labor is also dangerous, hot, physically difficult, and unrelieved, the human mind gets sapped of joy and creativity. For much of human history, our time on earth has consisted largely of this sort of work, constant toiling, just to survive.

My thoughts dwell on that fact when I spend a day or two as a re-enactor and when I harvest beans and other produce that won’t keep and need immediate attention, else the food will go to waste. I think of all the people now and in the past who have to cut firewood and stack it, keep it dry, then keep fires burning in stoves or hearths and watch the food so it doesn’t burn. And do the same, day in day out.

I think of my grandmother who, when she was still in her 50s and 60s, kept a large truck patch from which she fed her extended family. All the canning and processing and freezing she did…the jars of peaches, jellies, tomatoes, beans…meant hours of often-tedious, not to mention exceedingly hot, work.

green peas on white ceramic bowl

Photo by R Khalil on Pexels.com

I cannot recall ever assisting her with canning; but from the time I was a very small child, I would sit beside her on a wooden bench or chair and “help” her shell peas or snap the ends from green beans. I suppose I prattled to her, because I recall her distracted “Mmmm Hmmm” responses. After awhile, however, I’d get quiet and daydreamy just opening the green pods and slipping the fresh, round peas out with my finger over and over, listening to the plunk as they dropped into the bowl in my lap. It was soothing.

~

I remembered that long-ago activity today as I shelled black beans from their dry, tan husks: two or three pounds of them! My shelling created a crackly noise that intrigued our kitten, who has otherwise been drowsy from the heat. I’ve been freezing green beans, cooking tomato sauce, and harvesting pears and black beans for days in the humid August heat–but not non-stop (I have a day job, and the students have returned to campus!).

black beans in a bowl

So for me, the potential boredom of the repetitive task gets replaced by a rather Zen attitude. Be here now, shelling the beans, stirring the pear butter. Appreciate bounty and what the earth has given us. Remember childhood. Daydream awhile. Think about poems.

~

In this case, repetition means abundance. New poems as autumn arrives.

Altered perspectives

One of the arguments Arthur W. Frank makes in his book The Wounded Storyteller–and in his subsequent books about “illness narrative”–is that there’s a compelling ethics for medical diagnosticians and caregivers involved in just listening to the other person’s story. The difficulty emerges when the storyteller cannot put his or her story into words or lacks enough objective distance from the illness to narrate the kind of story that others are expecting.

When people’s circumstances push into the chaos realm, they’re in the midst, overwhelmed; few of them can construct a cogent and concise narrative. In their pain, in their grief, everything seems equal–no beginning, no end, all middle.

The listener expects: a beginning. a middle. an end.

The listener expects: chronology. a goal. a desired outcome.

If the listener’s job means determining a course of healing, the listener requires history, onset, comparisons. Truly good diagnosticians therefore need more than sleuthing skills, experience, and education. They need to listen well in the midst of the storyteller’s chaos; Frank calls this listening with.

That often means taking a deep breath and endeavoring to change perspective.

~

[Which, by the way, is excellent practice for poets.]

Tibet-Mountains-Everest-Kailas-Tibet-tours-Tibet-travel-Tibet-trekking-Tibet-hiking-3-of-8-1024x676

Himalayas: view from a high lake plateau (Snow Lion tours)

natural_fractals_tibet

Himalayas from satellite: a fractal view

~
We cannot climb into an airplane and get an overview of a human being’s situation. Nor can we get into another person’s thought processes to determine what’s going on. Listening without rushing the person, without offering advice, without finishing the sentences with what we expect to hear–that’s a hard task.

In a previous post, I tried to replicate what it was I could hear when someone I cared for experienced cognitive damage.

It was very, very difficult to listen. For me, heart-breaking because of my previous understanding of who the person was. It was only in her final days that I started to realize I’d needed to change in my relationship with her in order to get some idea of what she wanted to say. And it was too late, really.

~

As another Best Beloved is now experiencing significant cognitive changes, I want to do better. I need to acknowledge the chaos narrative, the interruptions, the lacunae in the person’s story. It’s important that I develop a new perspective on what a conversation entails, too; my expectations surrounding a conversation no longer hold, and both of us will get frustrated if we stick to former habits.

If sometimes a visit feels a bit like the Mad Hatter’s tea party, so be it. There’s a story in that, after all, thanks to Charles Lutwidge Dodgson.

mad hatter tea party tenniel

Tenniel’s sketch for Alice’s Adventures in Wonderland

And, just as an aerial view of the Himalayas alters the perspective of what the mountains are and how they appear, an altered perspective of a loved one keeps the person, as a human being still in the world (no matter how changed), in view. True, perhaps with changed patterns and unexpected gaps that we who love them may grieve the loss of. The conversations may be interrupted and chaotic, or full of long pauses and grasping for words and concepts. It is just a different kind of human communication.

Not what I expect, but what I am given. I’m trying to listen with, before it is too late.

Repetition

Repetition, the foundation of rote teaching and memorization, is a style of learning at which I have never been particularly successful.

Nonetheless, repetition has been useful in my learning process. Close observation reveals small differences in repeated events and refrains of all kinds; what I learn through repeated experience is that each time I see or do “the same thing,” I notice something new. Repetition permits me to analyze, and that is how I learn best.

Here’s an example.

~

Plants, particularly flowering plants, fascinate me. Every year, I find myself heading out to the yard, my camera in hand, to take photographs as the flowers unfold and the insects arrive to pollinate them. Every year. Yet a closeup of a bumblebee in a redbud blossom from 2005 looks pretty much the same as a bumblebee in a redbud blossom in 2019. Or a monarch on a tithonia–one year similar to the next. Why bother? What urges me out when the dogwoods bloom to record yet another photograph of flowering dogwood? How redundant. How unnecessary.

Yet I have learned much, gleaned much, from the process of noticing the buds and blossoms and insects as the days lengthen and then shorten again; the cycle of life a repetition. Each routine event of spring seems new to me after the winter’s rest.

~

The only types of poems I have managed to have some recall for are poems with refrains, and some song lyrics (also with refrains). The ones I have memorized are the ones I have heard and sung along with most often, such as the calls and responses of church rituals and hymns, the record albums I listened to over and over when I was a teenager. Each time I listened, I felt something new happen inside me. It’s the same with my walks in the garden and the woods and hedgerows and the meadow: each year the same, each year new. That kind of teaching, while repetitive, is far removed from rote.

 

 

 

 

Idea or memory

Revising a draft, for me, means returning to the poem from several perspectives. I might change the speaker from first person to second or third person, or change the poem so that there is not a clear speaker at all–no longer “lyric.” I may alter specifics, such as place names or seasonal references. Or fictionalize with invented crises, persons, time periods, or events. Take on a persona, for example. Add or delete dialogue. These are interpretive and point-of-view considerations: How can I broaden the poem’s reach?

I might then revise for stanza patterns. Or find a vague meter going on in the piece which I will decide is worth pursuing, if it will enhance the poem; sometimes it does not work that way.  If an image intrigues me, or puzzles or frustrates me, I’ll devote some revision effort to that. Play with alliteration or assonance, rhyme or off-rhyme, line lengths. Those are craft considerations, mostly.

When I work on a draft, my approach is that craft should hone perspective, and should be a silent partner in the poem. Early drafts, if promising, possess something inherently interesting. Otherwise, there’s nothing to work on or work with–the poem never really happens. Maybe all it manages to be is an idea, or a memory.

~

Sarasota

During the recession
laid off and without
even an old car
I lived in Sarasota
red tide gulf waters
slew of small fishes
dead on the beaches
where I went shell
hunting for lack of
other purpose.

Lizards on my walls
everything that mattered
blotted in moist air
novels and notebooks
drew mildew my hair
haywire the boy I loved
brown eyes & panic
sea at sunset gulls
and palmettos.

Once weekly I’d bike
to Unemployment
and wait in line to prove
I couldn’t get a job
but that I’d tried
& after my humbling
before government
agencies I’d stop at a
coffee shop on Fruitville
Road and order two
eggs over easy home fries
brown toast coffee &
blueberry pie.

There was something
so filling about that
meal I still think of it
silky blueberries in my
mouth the tip I left
the blond waitress who
kept my coffee cup full
and always called me
Darlin’.

~

blueberry-pie-horiz-a-180011