Grandpa

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Grandpa

Going back in time,
to a better time,
an innocent time,
when we believed
in frost and rime,
and Santa Claus
and Christmas.

Stockings hung
with hope and joy
and filled with
tiny things and toys,
an apple, an orange,
a chocolate bar,
small things
brought in
from afar.

My grandpa, who
had not been good,
with a carrot,
an onion, coal,
and wood,
but a smile
on his face
and his red
underwear.

I often see him
standing there,
beside the fire,
beneath the tree.
He still means
oh so much to me.

Reyes

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Reyes

The Spanish Christmas comes on the Twelfth Day after our traditional Christmas: January 6, today. 32 years ago, we spent Reyes in Madrid. We arrived in time to see the Christmas Parade and what a sight that was, with the three Wise Men, los reyes magos, riding on their camels at the end of the parade. It had just snowed and the city, streets and squares, shone white.

It’s funny what we remember and how we remember it. “Mira, mira, mira!” “Look, look, look!” Then, in the distance, descending from the Puerta de Alacalá, the Three Wise Men. Behind us, a little boy screamed at his mother. “Don’t you want to see los tres reyes magos?” she asked him. “No,” he yelled. “I don’t believe in the three wise men. I want to go home and watch soccer on the telly!”

I wore a white sweater that evening. When I got back to the hotel, I discovered that every inch of sweater that had emerged from beneath my coat was now grey. Even the air was filthy and pollution lay in ambush everywhere. “Every time I cough, I get a mining souvenir,” Max Boyce used to sing. Well, after a couple of days in Madrid, I too was coughing up souvenirs, but they didn’t come from coal dust underground. They came from the very air I was breathing out in the city streets.

Later that week, we took the train out to the Casa del Campo to see those same three camels in the zoo. In the distance, the Guadarrama stood out clearly against the sky. The zoo welcomed us and we enjoyed breathing in the fresh air and seeing the animals in the wide open spaces behind the invisible bars that allowed us to view them in a more natural habitat.

Christmas / Reyes: a magic time for remembering things that seem to have vanished, yet that sneak up on you and shake you awake when you least expect it.

 

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Butterflies

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Butterflies

Here today and gone tomorrow. Ephemeral. Like all of us ‘poor creatures, born to die’ (as Dylan Thomas once wrote in Under Milkwood). It seems strange to look back on last summer’s photos and to remember that yes, they were here, those butterflies. Outside the window. Perching on the flowers. Showing their varied colors. Alive. Vibrant. Raising and lowering their wings.

Once upon a time, a long time ago, when I wore a grey suit and lived in a concrete, four-walled cell that they called an office, I was asked if I would edit a new journal for one of the institutions with which I was involved. ‘Sure,’ I said. ‘That would be great.’ ‘We’ll need you to submit a title and a theme,’ they said. ‘Sure,’ I said. ‘Of course I will.’

I thought about many things: titles, themes, topics, writers … Then I thought about other journals with which I had been involved in various capacities. Then I considered walking in the footsteps of the Journal of Higher Education with all of its cutting-edge articles and high-powered inspiration. I breathed a sigh of frustration, then of relief. ‘Got it,’ I said, and the Journal of Lower Expectations was born.

Alas, it was a butterfly that never spread its wings. ‘Your services will not be needed,’ came the curt reply when I submitted the title.

Think about it: a couple of years back, there were no bees in the garden: CCD (Colony Collapse Disorder). Last year, there were no birds. The feeders stood empty, and bird flu was the cry on everyone’s lips and the plague on every bird’s beak. Ephemeral. Butterflies on a rock. Australia burns and people are rescued from the beaches where they have taken refuge in the sea. Everyone, everywhere, now needs to live with lower expectations.

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Butterflies and birds and bees: will they be back next summer? Who knows? I certainly don’t. But then, I am a true agnostic. I have no scientific background worth speaking of and neither ax no knife to grind on this topic. I genuinely do not know where we are heading. But I believe least those who protest most, especially when they bluster and bluff and try to pull the cocoon of disbelief over my eyes by shouting loudly their point of view. I have eyes. I can see, even if there are no butterflies, birds, or bees to be seen. Alas: I can still see and suffer their absence.

Please
will ye no come back again?”
Poor kangaroos, kookaburras, koalas,
wallabies and platypus ducks.

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We will miss you so much if you any of you,
let alone all of you,
along with the butterflies, birds, and bees,
go AWOL.

Black and White

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Black and White

There is a moment in winter photography when the world of color turns to black and white. Color is still there, but today it travels incognito, anonymous. The world is formed by shapes, trees draping their branches, snow weighing them down, dressing them in wedding gowns for their marriage with the new year spirits that haunt sunlit, moonlit snowbanks and dance across the snow. Even the clouds exist to give a soft, quiet dramatic touch to the winter beauty that visits the garden. And yes, it will always be there, even if we are not here to see it because it will carry on without us. As for us, we are secondary, mere witnesses to winter’s beauty and the nature that surrounds us.

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Amateur photographers can sometimes capture this effect in a moment of luck (or occasional inspiration). Great painters have always known this art of the minimal. El Greco drew light from darkness, his portraits often finding their own fire and lighting up from within.  Caravaggio, too, knew the values of chiaro-oscuro, light and dark, black and white. Velasquez was the master of the spotlight that highlighted the eggs frying in the pan, the hand of the water-carrier. Goya, in his etchings [The Disasters of War, The Caprichos] and dark paintings, drew mood and anguish from this contrast between light and dark, black and white.

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My friend Geoff Slater has caught such a moment in his sketches for Scarecrow. Above he catches the precise moment when the scarecrows, male and female, reach out to each other, and beneath a Van Gogh planetary sky, dare to dream of mobility and love. The dream world: so important to us all and especially to the creative artist who dwells in each of us. Deus est in nobis, the Latin poets used to say, it is god within us. The god of black and white who transforms the world into color and light.

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Black and white, light and dark, winter trees, Clare, two scarecrows, deer and crows: labors of love that reach out and catch us unawares, blowing our hearts wide open, letting in the sun and the wind and the ever present joy of seeing things, seizing them, sizing them up, in black and white.

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Aliens

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Aliens

They came in from nowhere. Appeared on the coaster. Smallish, slightly flaky, dried on the outside, they craved liquid. Climbed into the coffee. I fished them out on a spoon. They floated down my throat.

Now they are within me. They have taken possession of my system. Now nothing is the same and I see things in a different way. That plate on the table, diminished and slightly blurred.

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Those flowers, edible now. Those geese in the garden, my brothers and sisters.

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That cat, my friend.

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