Sea Shore

Carved in Stone 32

Carved in Stone
32

I dream of winter snow
snaking its whispering way
down the highway.

Waves draw lacy curtains
across the beach.

Sandpipers wade, pecking,
probing at tide’s foaming edge,
strange writings their footprints,
punctuation,
the holes they leave
drilled in the sand.

Evening now, and a low light
casts its magic on the forest,
gilding the trees.
Dry leaves rustle.

A shadow flickers
at the edge of my eye,
my childhood –
a sea bird soaring.

Commentary:

So inadequate, the word world I create. Sound – winter snow snaking its whispering way down the highway / dry eaves rustling. Absence of sound – waves draw lacy curtains across the beach / sandpipers, with their shrill voices and constant whistling’ / the gentle hiss and buddle where the sandpipers sew their holes.

What about the other senses? I miss the sense of smell, the odors borne on the wind, the different aromas that arises from dry and wet sand, the pong that wet sea weed exudes, the perfumes of sea side grass and wild flowers … And what about touch – the sandpaper scraper of dry sand between the toes, the feel of those lacy curtains as, jeans rolled up, you paddle along the shoreline, the feel of the wind on your face when sea birds soar … and who can ever forget the salt taste of the sea upon their lips?

The Catch 22 of all writers – how much can we include? How much can we suggest? How much must we let slip by? Culture – how can we describe the sea to someone who has never seen the sea? I can ask the questions – but I must leave you to work out the answers for yourself. So inadequate, the word world I create.

Flight

Flight

Such a miracle: those first steps to flight
taken by the cormorant over water.
That first one heavy, creating ripples,
the second one lighter, and the third one
scarcely touching the water.

The need to take flight lies deep within me.
Fleeing from what? Flying towards what?
Who knows? All I know is that the future
lies ahead where my bird’s beak points and
the past, a rippling wake, lies behind me.

That white water, trailing its kite’s tail,
tells me where I have been. Machado’s
voice calls out from the past: “Traveler,
there is no road, just a wake across life’s sea.”

Comment: The photo is a golden oldie, one of the first I ever posted on this blog. The poem is part old, part new. In reality, it is a revision, completed today, of the earlier poem associated with that old blog post. It is interesting to compare the two visions – with those seven extra years of creative experience between them. Let me know what you think!

A special thank you to my long-time friend, Dale Estey, for commenting and suggesting an improvement for the fourth line. Spot if if you can!

What do you enjoy most about writing?

Daily writing prompt
What do you enjoy most about writing?
View all responses

What do you enjoy most about writing?

I love it when a special friend reads one of my books and then takes it to the place where it was composed, and sends me a wonderful photograph of the book cover and the exact spot, at Hopewell Cape, where the cover was drawn. Wow! That is so special. Thank you, Sara, my friend and accomplice, for making even more art out of art and involving nature in the process.

Other friends have done similar things. Here is a collection of my books on the sea shore at Holt’s Point. And yes, Fundy Lines is in there as well. Can you spot it? Another very good friend, Geoff, contributed this very meaningful photo. So much of my life, there, upon the sea shore, waiting for the tide to come in.

This book, and its cover, are also very special indeed. And here’s why.

Still Life with Hollyhock
Geoff Slater

How do you frame this beaver pond,
those paths, those woods? How do you
know what to leave, what to choose?
Where does light begin and darkness end?

Up and down: two dimensions. Easy.
But where does depth come from?
Or the tactility, the energy, water’s
flow, that rush of breathless movement
that transcends the painting’s stillness?

So many questions, so few answers.
The hollyhock that blooms in my kitchen
is not a real hollyhock. Intertextuality,
visible and verbal: this is a poem about
a painting of a digital photograph of a
hollyhock, a genuine flower that once
upon a time flourished in my garden.

A still life, naturaleza muerta in Spanish,
a nature morte in French, a dead nature,
then, portrayed in paint and hung alive,
on display, in this coffin’s wooden frame.

So, what do I enjoy most about writing? Everything – for whenever creative people create they draw in others into a web of intertextuality that spins its way from mind to mind and, especially in Canada, links shore to shore to shore.

A Darker Mist

A Darker Mist

Sometimes a dark mist marches over
the sea-salt marsh flats and, a sea-bird
come to land, nests in my heart. This lone
bird brings others and soon a colony sings
its chorus in time with the incoming tide
that threatens to overwhelm me.

My body’s weak clay responds to this
darkness and slips into the chaotic
cacophony of multiple voices
raised to shut me off from the light.

My soul, a seagull seeking the sun,
rises upwards, ever upwards,
in search of the sunshine, that silver
lining that redeems every cloud, belying
the darkness of this gathering gloom.

“You will find sorrow moving through you, like a dark mist over landscape.” John O’Donohue, Anam Cara, p. 94.

Why am I?

Why am I?

A coast line
where sea and shore
engage in a never-
ending dialog
of silence and sound.

Who sees such things?
The man or woman
who has eyes to see.

Who hears such words?
The person who has ears
to hear and a heart
with which to feel.

And who am I,
this old man walking
life’s sands at the tide’s
foaming edge?

With a clarity of vision
that morphs light into shadow,
and then back out again,
would you tell me, please,
who, and why, I am.

“The chorus of the ocean, the silence of stone.”
John O’Donohue, Anam Cara, p. 78.

Movement

Movement

Incoming tide, a sparkling sea,
waves dancing beneath the sun,
white-maned ponies prancing.

Summer light changing as a cloud
moves its shadow over meadows
where cows graze, their advance slow,
gentle their movements, browsing.

Autumn wind, the dry leaves
casting a red-gold rainfall
over the lawn, shuffling along,
in time to the whispered wind song.

Silent, the deer, soundless as they move
through the trees at garden’s foot,
walking the tight-rope edge
dainty, between kempt, and wild.

Click for Roger’s reading on Anchor.
Movement

Boats

Boats

At night the boats arrive to carry you
away to the lands in which you dream.

Each boat carries a different cargo. Each
boat means a different size and shape.

To find out what they carry, you must climb
on board, raise the hatch cover, and descend
to where the riches rest in the dark below.

Ancient maps, formed by Freud, then redone
in the symbolic imagery of Jung, point out
the perils the traveler may meet as he sails away.

“Here be monsters, here be dragons, here be
anything you wish to configure in your dreams.

And here be the spice lands, emerald isles
embedded with their scents in a turquoise sea.

But steer clear of Scylla and Charybdis,
the pool that whirls, the rocks that close and
crash to crush you with their grinding teeth.”

Click here for Roger’s reading on Anchor.
Boats

Fundy Lines

Fundy Lines

I just received this. One of my best friends reading Fundy Lines along the Fundy Shore. Thank you so much.

The Messenger

Clarity is essential now:
the cycle of seasons,
the will and willingness to change.
Nothing can alter this flow:
rain and river, pond and sea,
the moon pull of the tide.

Each half-truth glimpsed
through the helmet’s slotted visor
as we charge in the lists,
knee against knee,
spear against spear,
knight against knight.

On the shore at the earth’s edge,
a new planet mapped in miniature:
each grain of sand, a speck of dust,
light upon the palm,
yet the whole beach, in unison,
weighing us up, weighting us down.

This world, immanent, renascent,
growing more solid
through its thinning veil of mist.

Freckled the water,
as the wild man sculls towards us,
over the waves, over the sand,
a fisher of what kind of men?

Was he without guilt,
he who cast that first stone?

The pond’s water-mask,
reconfigures in ever-widening circles
traveling who knows where
o lap at an unseen shore.

Light bends like a reed.
Liquid are the letters dancing,
distorted, on speckled waters
and the white sand undulating
under the rising waves.

Click here for Roger’s reading on Acorn.
The Messenger

Suite Ste. Luce

Suite Ste. Luce (1 & 2)

1

Black backed gulls,

nature’s alarm clocks,

waking the seaside

with their glaucous rattle.

High tide? Low tide?

We have drifted on our life raft

far from the grasping hands

of the city clocks.

Gulls dine on the beach.

Day’s rhythm all at sea.

2

6 am? 7 am? 8 am?

What do they mean?

The planet’s slow revolution?

This sun arc sketched in its stretch of sky?

Salt spray combing seaside fingers

through a young girl’s hair.

A man in a red boat, fishing.

Click here for Roger’s reading on Anchor.
Suite. Ste. Luce

Osprey

Osprey

An osprey on the wind
wings thrusting
for maximum lift
then flattened
for feather-tip control

Wheeling up and away
the soft-wing
sway of him
ascending his celestial
staircase
in a rush of blue air

Light his flight
sky steps
danced to wind music
played over beach below
and rock and rolling waves

Watch him
wave good-bye
with a waggle of his wings
and a well-judged flick
of his paint brush tail
brown white and black lines
neat strokes
across a cerulean sky

Click here for Roger’s reading of Osprey