Old Masters and Time

Monday Morning Musings:

“To wrestle with the angel—Art.

–Herman Melville, “Art”

 

“So come the storms of winter and then

The birds in spring again

I have no fear of time

For who knows how my love grows?

And who know where the time goes?”

Sandy Denny, from “Who Knows Where the Time Goes”

 

I wonder how I’d explain a museum to someone from another world

the whys of collecting, the how, and the who

and what they thought they knew

about this technique or about this blue

(see, the artist mixed it here with red instead)

how tastes and trends change over time.

The Old Masters painted their world as they saw it

mastering techniques, adding some wit,

(perhaps even a bit of spit)

brushstrokes broad or fine, celebrating less the ordinary,

and more the sublime

wondering about fate and time

and posing a patron though it’d cost him dear

as wise and good, a god among men

(though insincere)

with bright façade and a gilded veneer.

 

Curating and restoration reveal meanings

what the artist really meant or thought

(perhaps different from when the painting was bought)

Here we see a painting thought to be about frivolity

but skilled work shows it true intention–

a work about consequences and mortality

and the artist herself overlooked

when past her time

the same old story again and again–

her paintings are attributed to well-known men.

 

We wander through the museum’s Great Hall

Diana is illuminated for the season, and all

the world,

(at least this part)

seems festive,

see here, she’s positively glowing

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and the Calder mobile across from her is blowing,

or perhaps I imagine it so,

as Diana breathes a winter sigh

and sends the mobile flying high.

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We leave the museum,

walk down the steps, now immortalized by a fictional boxer

though I prefer to simply admire them as they are

(a part of the whole, and not the star)

walk down the Parkway, heading toward the river

the air is fine for winter, Mother Nature delivers

a perfect day to walk and talk

on so, on to the Rodin Museum

we stand before the Gates of Hell

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and the Burghers of Calais, and a shade

was he afraid

of ghosts and spirits,

the sculptor wrestling with demons, wrestling with art

depicting emotion with single body parts.

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Rodin, “The Cathedral”

 

We walk on, the day still warm

the storms of winter, not yet come,

pass buildings and monuments-

people, places, and events—

and books and art, the contents

of our history and culture

still standing, still valued, sometimes revered

though the purveyors of ignorance and hate, have feared

the spread of truth and beauty,

and are more willing to incarcerate

than educate–

roads well-travelled through time and space

yet still I hope we can erase

the fear and hate

to wrestle with the angel art

because our time is brief

and who know where it goes?

We close our eyes,

and on it flows

carrying the monuments and the art

like Oyzymandias, nothing will remain

but while we can,

we carry it in our minds and heart

in the sound of the birds and laughter,

and museum art–

we take these moments

to watch the people and drink some wine

to glory in this, yes, unexpected sunshine.

As past, present, and future conflate

for a moment, here in this urban landscape,

this Christmas fete

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from behind us the music, and skaters skate

round and round and figures eight

and I remember and contemplate

a memory of my sister and me

from a hotel window high above, we

watch skaters there from long ago–

I wonder, where did they go?

 

Later that night, I watch the moon, bright and full

and hear the geese honk to friends and mates

it’s time to go

I wonder, do they ponder about their fates

or simply accept what is, not what might be

do they see how time flows and goes?

And as for me, I circle round through time, through art,

through dreams and memories held closely in my heart

I’ll wait for the storms of winter

and for the birds in spring again

I’ll wonder where time goes

why it’s sometimes fast, but sometimes slows

but know only that on it flows

and like light and hope, drifts through the cracks,

and somehow, circles back.

 

 

 

 

 

 

 

The Value of Art and Dancing in the Rain

Monday Morning Musings:

“Great art evokes a response. . .emotion.”

Bruce Graham, The Craftsman

“We have a story we want to tell you about a play — a play that changed my life. Every night, we tell this story. But somehow I can never remember the end.”

–Lemml, at the beginning of Indecent by Paula Vogel

“Dance me to your beauty with a burning violin. . .dance me to the end of love.”

–Leonard Cohen, “Dance Me to the End of Love”

 

The day began with a stunning sunrise

a prize or disguise

for what would come later?

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Pitman golf coures, Pitman, NJ

We walk through city streets

listen to the beats

the syncopation of traffic and conversations

the announcements from underground stations,

look at the buildings and public art

take heart that the rain has not yet started.

I notice a clock, a reminder to go inside,

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the theater,

another world unfurls.

 

At the back of stage

projections of artwork by Vermeer

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Johannes Vermeer, “Girl Reading a Letter by an Open Window,” [Public domain], via Wikimedia Commons

over them we suddenly hear

guns or bombs and the paintings disappear

overlaid with black

then from the back

a man appears to give a speech

he is the head of the provisional government,

the Nazis are gone

the dawn of a new time

but justice must be done.

 

The play is about a forger, a con man

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who longs to be an artist, and when he can—

he also gets revenge upon the man, the critic

the con man’s a cynic

his wife, perhaps anti-Semitic

later she says she should have spoken out

without a doubt

a line that is relevant today

as is much of the play

which explores art, creativity, ability

and should an “expert’s” opinion hold dominion

over art

What is it worth, what is fake and what is real?

what will you pay to seal a deal?

I’m reminded of a man, an emperor with no clothes,

(as everyone knows)

who insists that his paintings (and news) are real

because he could never admit that he was taken

for a fool

(He is mistaken.)

The play is partly a courtroom drama

set in a particular time and place

the space converted

with a clever set and lighting

inviting us to see the different scenes—

office, jail cell, and courtroom.

there are flashbacks to the past,

and an excellent cast.

The setting is important–

the Netherlands had been occupied

those in the Resistance tried to defy

with some success, but also retaliation

leading to the Hunger Winter

and more lives splintered.

What should happen to those collaborate?

The play explores how we express hate

“revenge has become a spectator sport,”

do we resort then to the level of the oppressors?

We walk and talk

See a house with sunflowers

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Walking now a bit in showers

discuss the play over wine, beer, and cheese

then out into the night

see rain reflecting off city lights

prance and dance

tap a beat onto the street.

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Over homemade pizza and wine again

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Cozy inside from wind and rain

we watch a play on TV,

we see

another story based on events that were real,

and we feel,

we definitely feel—

this play within a play

to Klezmer music, the actors dance

and ashes fall from their coats and pants

they dance to the end of love

and perhaps they dance then back again,

there is a scene in the original play,

written in 1907, God of Vengeance

by Sholem Asch

the scene, referred to as “the rain dance”

involves two women, lovers—

the play is about the history of that play

performed successfully in Yiddish in Europe,

then the cast was arrested on obscenity charges

when it was translated into English and performed in the U.S.

(not a success),

the play is performed in the Lodz ghetto, in an attic room,

though all there know, they are probably doomed.

The play is about a culture lost

to time, to the Holocaust,

but it is about past and present

and how art matters

even when people are battered, shattered

their life in tatters,

and though some only value art for its monetary worth

the true value is in what it brings forth

in emotion and feeling

art sends those who value it reeling–

makes us think and want to dance in the rain

again and again

makes us laugh, or cry

makes us sigh and want to defy

Does it change our lives?

Yes, this I know,

art does, and helps us grow.

 

We saw the Lantern Theater Company.’s  production of The Craftsman.

We saw Indecent on PBS’ Great Performances. You may still be able to see in online.

 

 

 

 

 

 

 

 

 

 

 

 

From the Ashes: A Month with Yeats, Day Nine

 This is for Jane Dougherty’s November Month with Yeats, Day Nine. The quotation is: 

“Troy passed away in one high funeral gleam,

And Usna’s children died.”

—W.B. Yeats

I was also inspired, or perhaps haunted, by this article that I saw last night about a girl’s pendant found at Sobihor.

 

Once she played and laughed upon a hill,

once there were families, hope, delight

before darkness came and all was still

in a nightmare world of constant night

monster-filled with hate and fear

and all that once was cherished and held dear

lost forever, or perhaps entombed

within the ruins, amidst the gloom.

 

Years passed in revolutions round the sun,

and grass sprouted in ashes cooled of fired hate

buried there, searchers found that she was one

in rubble raked beyond the gate

found there, a victim of the slaughter,

someone’s child, once a daughter,

found her broach, inscribed, a sign, a trace

that she existed once, now not entirely erased.

 

But does this finding some closure bring

to those who are left or suffering?

The ashes of the dead once rained like sordid snow

fertilizing now the ground where flowers grow

light’s restored, but mutable

and darkness still falls, indisputable,

hope the feather that softly flies

from wings of knowledge and wistful sighs.

 

 

 

 

 

Of Lies and Better Things on the Way

Monday Morning Musings:

 

Men should be what they seem,

Or those that be not, would they might seem none!

–William Shakespeare, Othello, Act III, Scene iii

“ they are not men o’ their words: they told me I was everything; ’tis a lie…”

–William Shakespeare, King Lear, Act IV, Scene vi

“Here’s wishing you the bluest sky
And hoping something better comes tomorrow
Hoping all the verses rhyme,
And the very best of choruses to
Follow all the doubt and sadness
I know that better things are on their way.”
–from Dar Williams, “Better Things”

 

We walk through a living, mortal city

see buildings transformed

here an insurance building, now condominiums

a Starbucks at its base

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is the history erased

or still held there, a trace of perfume or smoke

left somewhere in a bit of old oak

and here, the cobblestones and bricks remain

some things, perhaps, stay the same

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We travel through space and time

in books, movies, theater, art

from my small town’s fall festival

to Philadelphia streets

then we enter the London theater

of centuries ago—a show,

the stage framed with the red velvet proscenium curtains

uncertain what we will see

amongst the esteemed company

there at Convent Garden

where a substitute actor

steps in to play the part of Othello, the Moor–

a black man? Well, that’s not been done before!

A character declares, “People come to the theater to get away from reality.”

The cast members of this well-known London troupe are divided,

some undecided about how they feel,

but willing to try some new techniques

or at least to somewhat tweak

their stylized manner and gestures

though scandalized at how Othello touches Desdemona

Do they understand the play and his persona?

We see a bit of the handkerchief scene

enough to glean how it might have been

the critics were vicious, in racist prose

derided Ira Aldridge’s performance in the show.

He is an anomaly upon the stage

We see there both passion and his rage

later hear him, as Lear in madness decry the lies

as fury builds and slowly dies,

around him, slavery still exists

(and even now)

though we can hope through sorrow

that better things come tomorrow

and better things are on their way

 

We discuss and dine

and drink some wine

(well, beer for him)

we’re both well pleased by the cheese

that we nibble sitting there as day turns to night

caressed by a breeze

perhaps it’s wandered round the world

unfurled and carried hope and sorrow

and we discuss the present and the lies

ignorance that triumphs over facts or the wise

but still we hope that tomorrow

better things are on their way

 

Younger daughter and I go to a concert

Dar Williams sang of the pagans and Christians

sitting at the table–

and just like them, we’re able to sit with different folk

but at least they were silent, and no one spoke

and I was more fascinated than annoyed

by the man touching the woman and the other woman stroking her hair

both unaware, I suppose, that we couldn’t help but stare

as we enjoyed the songs, the reading, our food and wine

so yes, we also came to dine

(a bit like the Gilmore Girls—

if they were vegetarians with curls)

and Dar sang of the babysitter, now urban planner

and “positive proximity”

(despite city’s life often anonymity)

she spoke of transformations she has seen

spaces empty and dark, now full of life, green

and when she sang “Iowa,” we all sang along

we all sang the chorus to the song

and despite lost hopes in November

our fears and sorrow

we left in hopes for better things tomorrow

that better things are on their way

 

In the blood

in the dreams

in the cities

and in the seams

and it seems

and it seems

that we wade through streams

against the current

things that are and things that weren’t

sometimes floating

ever light

drifting far and out of sight

journeys through space, time, day, and night

to ponder, to wonder

at art’s spell, we fall under

does it hide or amplify

the truth and the lies

and those who are afraid of women

and those who lie, quite unredeemed

or even worse

(notes on a theme)

they are exactly what they seem

but in our sorrow, we can dream of tomorrow

and let hope linger here, now stay

better things are on their way

 

We saw Red Velvet at the Lantern Theater Company.  The play is based on the life of the real actor, Ira Aldridge. We saw Dar Williams at World Cafe Live.

 

 

 

Two Trains: Haibun

“Freight train, freight train, run so fast
Freight train, freight train, run so fast
Please don’t tell what train I’m on
They won’t know what route I’m going. . .”

–Elizabeth Cotton, “Freight Train”

I sit in the movie theater watching a documentary. Mississippi, June 1964–Freedom Summer. Two groups of idealistic white men search for African American delta blues singers, Skip James and Son House, they know of them only from old recordings. The seekers are unaware of what the segregated South is like. While they search, other idealistic, naïve, white college students are heading to Mississippi to set up freedom schools and to help with voter registration. Black activists know those in power do not react to black lives lost, so it’s crucial to have these white civil rights workers involved, too. On June 21, 1964, African-American civil rights worker, James Chaney disappears from Philadelphia, Mississippi, along with white colleagues Michael Schwerner and Andrew Chapman (their bodies found weeks later). They vanish as the musicians are found. The stories converge—two trains running–music and the civil rights movement. I watch all this—the old film footage, the animated scenes, the talking heads. I hear those lonesome, vibrant, haunting blues. The music train arrived, but the civil rights train is still running, fueled by hope and persistence, despite the obstacles on the tracks.

 

Ghosts still walk these roads

haunted sighs in summer winds

rhythm of the blues

 

Embed from Getty Images

 

This Haibun is for Colleen Chesebro’s Weekly Poetry Tuesday. The prompt words were ghost and haunt.

We saw Two Trains Runnin’. More info here.

 

 

Tangled in History and Art

Monday Morning Musings:

“We always did feel the same
We just saw it from a different point
Of view
Tangled up in blue”

–Bob Dylan, “Tangled Up in Blue”

 

“for a brief, enchanted, almost transcendental point in time, I perceived how history was nothing more than an accident, a fluke, a matter of a few centimeters here or there, a head turned, a sudden gust of wind, a dirty gun barrel, a misfired cartridge, a breath held for a second too long or too little, an order misheard or misunderstood, an itchy trigger finger, a second’s delay, an instant’s hesitation. The idea that anything is ever meant to be seemed nonsensical. . .”

–Philip Kerr, Prussian Blue

 

I wake,

finger-comb my tangled curls

wait for dawn to break,

to overtake,

the midnight blue

and color the world in morning’s hues–

red, pink, gold—

and then the sun and clouds

are “tangled up in blue”

Sunrise, National Park, NJ

I think of my dreams

stories connected–

projected or reflected?

One flows into another,

intersected, another thought appears.

How do we dream before we have language?

In tangled images without names?

(Only later can we reframe.)

 

We see a performance

women on aerials silks and trapeze

moving with ease

in the air and on the ground

they cross and tangle

(sometimes dangle)

life lines that intersect,

disentangle, and connect

(the toddler next to us, calls to her Momma)

which doesn’t detract from the drama,

attests instead to broader connections

and lives that move in several directions

the tangle of work and home,

a woman sings, “I’m fine,”

but from any angle,

our lives and connections are certainly tangled

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We walk

we talk

observe

and swerve

around the other people

on the street

hear bits of conversation

their lives briefly entwined with ours

flies tangled in a web

flowers

to be pollinated in late-night hours

in my dreams

(or so it seems)

 

We drink and eat

watch the men across the street

and make up stories of their lives,

wonder about their families and their wives,

we concoct a total fantasy

with no basis in reality

just men having a smoke,

yet they evoke,

our ridiculous tales

make us laugh and smile

as we linger for a while

the liminal time, before sunset

a time of yet and no regret

stories tangled together, apart

truth, fiction, and sometimes art

 

We see another show,

what is it about?

Theater can explain and deceive

(a nifty magic trick is well-received)

movements, music, and words

fly in tangles, like tiny birds

through our brains

where, I’m not sure what remains

science and speculation

no overwhelming revelation

the beginning, the middle, the end

Big Bang and what comes after

for a family–

there is some laughter–

nothing is predictable, it’s true

we could be tangled up

in blue

or black

when the theater is dark,

but like an ark

it takes us on a journey

Information received

or are we deceived?

Tangles upon tangles in the darkness

no answers here

only questions

But that’s OK, I’m fine.

 

We emerge to sunshine

watch the people

watch the dogs

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At Tria Café, Washington West

and the bikers bike

(we see all types)

we linger, drink, and eat,

poetry of the street

sights and sounds tangled together

(we enjoy the lovely weather)

this moment, this now

I wonder how,

and what,

and if only. . .

We walk to the corner

left or right

which brings us to a sight

we do not know what we will see

or what was then, or what will be

move straight ahead

down that clear path

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what happens then

oh, I see, it’s a dead end

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Do we turn the other way?

Does history change, what if we stay?

Our shadows tangle on the cobblestones,

hands clasped

we head for home

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We saw two of the many, many Philadelphia Fringe Festival shows this weekend

We saw Life Lines by Tangled Movements Arts, which we both really enjoyed. See this group, if you can.

And we saw Hello Blackout by New Paradise Laboratories. See this if you like weird. The program note says to let the show wash over you to give yourself “a right brain vacation.” That’s the fun of Fringe–something different. I didn’t love it, but I’m not sorry I saw it.

We ate at Cuba Libre and Tria Cafe.

 

 

 

 

 

 

Souls Amongst Us, Drifting

Monday Morning Musings:

“None of it was real; nothing was real. Everything was real; inconceivably real, infinitely dear. These and all things started as nothing, latent within a vast energy-broth, but then we named them, and loved them, and, in this way, brought them forth. And now must lose them. I send this out to you, dear friends, before I go, in this instantaneous thought-burst, from a place where time slows and then stops and we may live forever in a single instant. Goodbye goodbye good—”

—George Saunders, Lincoln in the Bardo

 

“I met you on a midway at a fair last year. . .”

Joni Mitchell, “That Song about the Midway” (1969)

 

Ancient cycle of souls

between rocks and rivers

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Laurel Hill Cemetery, view of the Schuylkill River

 

walk sweetly

(some say)

follow us in spirit form,

(perhaps)

happy

rising with the moon

blooming with the stars

living in harmony with the cosmos

watching flowers blossom

year after year

the willow weeps for them

amidst angels and urns

obelisks and hands pointing to the sky

 

and here we are, alive

walking amongst them

hearts and bones

flesh and blood

a family outing

the young women–and us

no longer young—

(except in our dreams)

a groundhog warms itself on a gravestone

then disappears

a moment come and gone

nothing is real

everything is real

there are ghosts all around us

We drink wine

enjoy a picnic dinner

the singer plays her guitar strings

sings about the midway

slowing down

birds take flight in a dramatic sky

(in a moment there, then gone)

wearing wings, they looked so grand

hanging upon the face of night

soon scented with petrichor

we move to shelter

as the rain pounds down

drink some more

discover that caramel corn flavored with Old Bay seasoning

may be the snack we didn’t know we craved,

my daughter and I talk of haircuts, then Shelley and Keats

Grecian urns and time

passing fast and slow—

stopping midway, going down

everything is real

the moments paused in my mind, infinitely dear

 

we watch a movie, sweet and tender

about a widowed Hasidic man

we feel sorry him,

he only wants to regain custody of his son,

though he seems to sabotage himself at times

we all know someone like him

yet still, we root for him

it doesn’t matter that they are Hasidic

speaking in Yiddish

nor that it is a patriarchal culture

where the main function of women

is to have children and take care of the home

they could be any father and son

the boy finds a video of his mother

he replays it

a moment from the past

but life goes on, the rabbi says

and we learn to go on, too

 

We discuss the movie over coffee

agree the boy is incredibly cute

(like a Maurice Sendak illustration, I say)

we walk and talk

through old city streets

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past graves

our shadows—

real, not real

fly over graves of Revolutionary War soldiers–

everything starting as nothing

then named and loved,

all the fathers and sons,

the mothers and daughters,

lingering in hearts and minds

remembered

till they are forgotten

midway in time

the cycle begins again

ancient souls float between rocks and rivers

pause

they linger in your mind

you may almost see them

feel them

drifting in the breeze

 

We walked through Laurel Hill Cemetery, founded in 1836, and intended from the beginning to be a recreation site, as well as a burial place. We saw the movie, Menashe. Trailer here.

We walked through the yard of St. Peter’s in Old City Philadelphia. A brief history here.

 

Truth in a Cookie

These cookies, your favorite,

are my favorite, too,

my daughters named them,

“Mommy Cookies,”

I baked these cookies for them

and for me

I baked them for events, for friends,

for moments of heartbreak

and moments of joy–

for memories.

I baked them for you.

 

I think of all the recipes handed down,

mother to daughter over generations,

measured by sight and feel

cooked or baked to taste,

I think of these cookies,

back in Eastern Europe–

the original version–

hard and dry,

kept in a tin,

taken out to have with tea,

but evolving over time

with new additions,

(like families)

becoming sweeter

and more nuanced,

cookies that are made

(now)

with ingredients of old world and new

bridging history in a bite,

tasting of past, present, and future–

what I see in your eyes,

the girl who was

the daughter, the mother, the grandmother,

what I see in my daughters’ eyes,

years gone, years yet to unfold,

bitter, spicy, crunchy, and sweet,

the definition of a cookie,

the measure of a life

 

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This was a poem I wrote for my mom’s 95th birthday.  I made her some of these mandelbrot cookies as a gift.

 

Silent Parade: Tanka

resolute in grief

silence roaring in the heat

July marches past

without confusion time flows

history repeats itself

 

Embed from Getty Images

 

The Silent Parade of 1917 is the subject of today’s Google Image.

This if for Colleen Chesebro’s Weekly Poetry Challenge. The prompt words are heat and confuse.

 

Windows and Views

Monday Morning Musings:

“But, soft! What light through yonder window breaks?

It is the east, and Juliet is the sun.”

William Shakespeare, Romeo and Juliet, Act II, Scene 2

“Then, window, let day in, and let life out.”

William Shakespeare, Romeo and Juliet, Act II, Scene 5

“Unfix’d yet fix’d,
Ever shall be, ever have been and are,
Sweeping the present to the infinite future,
Eidolons, eidolons, eidolons.”

–Walt Whitman, “Eidolons” from Leaves of Grass

“There’s this phenomenon called the overview effect. It’s this cognitive shift that many astronauts go through when they see Earth for the first time from space. They describe it as feeling this overwhelming sense of humanity. In space you see that we’re all in this together. Astronauts leave the Earth as technicians, but they come back as humanitarians.”

Amanda Nguyen, Rape Survivor, Founder of Rise, Astronaut in Training

Open that vast window

time lives in our embrace

kissing ghost and angel breath

from ocean, sky, and naked dirt

giving poetry to life

for eternity

 

Open that vast window

we experience the world

through our senses

trying to find rhyme and reason

the ghosts flit and echo

souls and poetry intermingle

past and future merge

 

Here we sit in a vineyard,

drinking wine named for a poet’s verse,

 

watching performers speak the words of a writer long gone

his words echo through the centuries

opening windows to worlds we wouldn’t know

as Juliet opened hers to Romeo

time floats

unfix’d yet fix’d

 

Here in this space

the sky is an open window,

vast with promise and possibility

Sunset, Auburn Road Vineyards

we hear night birds trilling and calling,

a bird

(or is it a bat?

I learn eidolon is also a genus of bats)

swoops to catch an insect

while below,

players thrust and parry with swords and wit

life and death around us

windows opening and closing

unfix’d, fix’d

eidolons

 

Later, I remember one of our daughters

spoke Juliet’s words,

it was an audition

for a college theater grant,

leaving home

(the overview effect occurs only then)

a window appears

she opened it,

and in a theater,

(eidolon-filled)

finds her sun,

and he burns brightly

for her,

eclipsing everything else

 

We see another play,

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before it begins

we listen to the people near us talk,

they’re all involved in theater,

the woman sitting to my left, we learn,

is in a play in another theater that night

she plays the grandmother—again!

they all laugh

the light dims

our play begins,

one actor on the stage here in Philadelphia,

the other in London

they communicate through SKYPE–

live theater

the wonders of high-speed connections–

we see his house in London

on screens

like windows

but he looks through windows, too

seeing the present, imagining the future

 

The play is set in the near future

the butterflies have died,

but new ones have been created

along with other animals and plants

like chaos theory

or dominos

each extinction creates another

each creation has unknown effects

people rebel and resist

ecological warfare, starvation,

the world owned by a corporation

a better world

through gene manipulation,

what could possible go wrong?

 

After the show,

we walk across the street

from a story of the future

to a building of the past

Christ Church, Philadelphia

on this hot, summer day

we wander

see flowers still growing

(sigh of relief)

the sixth extinction may have started

but it’s not visible here yet,

not to untrained eyes,

birds flit and sing

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we stop for ice cream

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see a wedding, and another, and another

(couples beginning new lives

closing doors, opening new windows)

I find openings everywhere

windows from the past

looking at the present,

I wonder if ghosts wander here

do they experience an overview effect?

seeing Earth, their lives now from a new perspective?

unfix’d, fix’d

eidolons

 

We head home

the sky darkening

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the sun not visible through the clouds,

and the thunder rumbling–

but in the morning

it rises in the east

shining through my window

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(the present)

poetry of the here and now

sweeping to the future

 

There was a dVerse prompt on windows last week that I missed, but I suppose I’ve been thinking about windows. The Oracle gave me the first stanza. She really is all-knowing.

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We visited Auburn Roads Vineyards.  We saw Tiny Dynamite’s production of Perfect Blue at the Christ Church Neighborhood House.