The Muse of Losing Mother

Mother in the surf with two of her sisters. She is in the middle

I lost my mother, Gretel Lowinsky, on January 11th 2018. She was 97 years old. Actually, I’ve been losing her for many years, to Alzheimer’s Disease, in an agonizing decline, which I have rendered into a series of poems. I visited her in her Chicago retirement home, and later in my brother and sister–in–law’s home in Indianapolis. They, bless them, provided her with sanctuary in her last years. Mother would sit in the living room, watching the parade of life around her, visited by the family dogs, by her grandchildren and their friends, tended by loving caregivers and by her son and daughter–in–law when they came back from their long days at work. She would forget where the bathroom was. She would tell me, often, that she didn’t know who she was, or where. The spacious home in Indianapolis would morph into her childhood home.

Mother in Indianapolis in 2012 with me,
her grandchildren Ari and Shoshana, and the dogs

My mother was a German Jew who fled Europe as a young woman with her family and found sanctuary in America. She was sturdy, hard working, good hearted, emotionally intelligent, and much beloved by those who knew her. She lived in Chicago for much of her life. She loved young children. For almost twenty years she worked for the Chicago Childcare Society, supporting bonding between preschoolers and their young, mostly African American mothers, teaching them about child development. She did home visits and, because she was so unassuming, humorous and kind, I imagine her visits were a welcome break for the families. She was also a fine violinist and violist. She took great pride in bringing “The Messiah” to black churches all over Chicago.

Mother with her grandson Daniel

Mother playing the viola

Elegy is a powerful muse, and one that helped me work with the excruciating experiences of losing mother, bit by bit. In the end, there was nothing left of her radiant spirit, her contagious laughter, her love of life. She was a huddled mass in a wheelchair. Where was my mother? Her mind was long gone, but her body plodded on. I prayed she would let go, and finally, she did.

Mother woke me in the wee hours of Jan. 11th, ripping her roots out of my heart. I can still feel the pain of that rip. And then she transformed herself into a cascade of memories, as though her spirit, freed of the tangled knots in her brain, took flight over her long, complex life and poured the riches of her being into my soul.

One memory is pivotal. Twenty years ago, Dan and I were in Florence, at an International Jungian conference. Dan had found a charming apartment for us to rent, overlooking the Arno and the Ponte Vecchio. Mother came to stay with us there. In those years she travelled the world with enthusiasm and energy.

Our family had lived in Florence when I was a child of five. My father had a Guggenheim fellowship to do musicological research in the Bibliotheca. It was 1948, just after the war. Italy, like much of Europe, was devastated and impoverished. I remember that our apartment was always cold. I would sit on my hands to keep them warm. I remember eating dried bananas, because there was no fresh fruit. Mother had not been back in Florence for fifty years. This was a very different Florence, full of fresh fruits and vegetables, radiant with artwork and sacred spaces. Mother was delighted, full of stories. She showed us where the family had lived on the outskirts of the city. She spoke of Lydia, a friend or a nanny, who had grown attached to me and I to her. Lydia took me to church and had me baptized, because she didn’t want me to go to hell. When I proudly told my father about this, he hit the ceiling. But I have always felt deeply at home in Italian churches, especially in the Duomo of Florence.

Simon, Benjamin and Naomi in Florence, 1948

We traced the long walk she took to the hospital, alone, in labor with her third child. My father was too busy with his Medici Codex to accompany her. My brother Ben was born there. Mother told us she had slept on straw with the Romany women. She told us she feared for her newborn’s life. He had a hernia that needed repair. I wrote a poem about this:

Reverie in View of the Ponte Vecchio

Lavender chiffon lifts off my shoulders
light wind from the Arno cools
hot flashes

Mother in the front room
came in yesterday by train from Switzerland
summer rain

Such comfort in familiar voices
Mother and Dan discussing pregnancies
Cousins soon to be born
How beautiful the Jungfrau

Mother’s voice meanders down
a labyrinth—fifty years
since she was last here—
I was a child   She pregnant
with her third

It was just after   the war
the Germans had bombed all
the bridges   except
the Ponte Vecchio     Hitler was
fond of it

Mother walked on stones in labor
long way to the Ospedale
Santa Maria di Nuova–Careggi
slept in the straw with the Romany women
separated from her baby
by a sudden flock of white coats
his emergency surgery    She remembers
They kept him in a room with sick twins
First they turned green    then gray   then died
I thought my baby   was next

What is the kernel of this moment?
I want to crack it open    eat it
make it a part of my body forever

My brother   in his brick row house
in Toronto      surrounded
by history books    The old bridge
                                    dreaming of itself
                                    in green waters

Ponte Vecchio, Florence, Italy

I have another memory of my mother in Florence. We were in a jewelry store. Everything was aglow. She bought me an amethyst necklace. I bought her amethyst earrings. My mother seldom indulged in such “girlie” pleasures. Finery was not her thing. “Too fancy” she would say. I treasure that necklace still. Earlier in the day we stood before the Lippi Madonna in Santo Spirito. Mother kept gazing at the beautiful young mother with the inward eyes, her haloed son leaning out of her lap to play with his cousin. She kept putting more money into the light machine.

At dinner in a rare confessional moment, she spoke of approaching her eightieth year. “I am mostly in harmony with myself,” she told us. “Not always. That would be boring.” I remember how beautiful she looked in her many colored Indonesian shawl, her amethysts glowing in the candlelight. Later we went to hear a concert of Gregorian chant. Our shadows loomed large on the wall of what had once been a church, was now a military recruiting center. I hold onto that jewel of a memory. She would have a few more good years, and then the terrible decline. Here are three poems inspired by the muse of losing mother.

Posthumous portrait of JFK

Root Canal

1. Security Line

We are pilgrims on our way to see Mother   among travelers
in flip flops    with bluetooths     carrying babies      We walk
in our radiant bodies    One of us is about to crack

a tooth     Only the babies can see    old light
from past lives     Only the babies can hear
the song lines     We are pilgrims passing through

the metal detector     We remove our shoes     remove
our coats and shawls     Some of us will be hand wanded
silver bracelets    seven quarters     three dimes provoke

the security gods     The Kennedy who just died
is speaking thirty years ago on TV     His assassinated
brothers still bleed into our lives

2. Retirement Living

In Mother’s eighty-eighth year she got scammed     Sweet talkers
from the islands poured delirium into her ears      drained her purse
A Great Lake swimmer lost face      A late Beethoven violin

bowed to the gods of security      We’ve come
to see her new place among the formerly eminent
Hyde Park intellectuals      We walk the round of her days      She

gets lost      forgets her song lines      wants to sort through
scores of Mozart Bartok Bach.   What goes where?    The Kennedy who died
is talking on TV     It’s his funeral     His widow pushes back her dark

hair     She’s known him on her belly     in her thighs     She knows
his secret smell     When is it my tooth cracks?
When does that big bully nerve take over?

3. Roots

Oma’s paintings dominate this place     She painted
herself painting all her ages      painted herself losing
her grip     She looked straight into her own mirrored eyes

and painted the edge of her nerve     We make a pilgrimage
to see her painting of German snow on roofs in 1931
The naked larches scrape the sky     Her sons are dead

Her sons are dead     Her sons are dead     Trees
save her     Trees leave     Trees bud     Trees flower
Trees know her secret smell     They cleanse her dreams

Trees grow by rivers     by canals    by lakes     They reflect
on themselves in oils     in watercolors     They burn orange
in the deep wood     They burn gold under water     Mother loses track

of the song lines of her Mother     Her brothers bleed
into brothers not yet born     Mother says we live
too far away     that we’ve been swallowed by the State of California

4. Going Home

I am losing my own grip     My finger prints fade     I forget
your name     All I know is the scream of a nerve     I’ve no idea
how the widow got into Mother’s TV     no idea

how an endodontist removes a dying nerve     no idea
how a plane leaves this earth     no idea
how I’ll live in the State of California
                                                               while Mother loses track of herself
         

                                                               (first published in Sierra Nevada Review)

When Trees Go Wild -painting by Emma Hoffman

Mother Approaches the Border

Mother is leaving us
slow step by slow
                          lingering step

She’s ascending the winter trees
                          without bud
                          without leaf

She looks back
                          a runaway child
                          without overcoat

Time is a broken necklace
She’s given up gathering
                          spilt beads

Yesterday
is a clanging
in the basement pipes

Tomorrow chugs down the track
blowing its horn      Where
                        are her sisters?

Who has the passports?
Must she cross
                         the border alone?

The lake’s in a bad
                         weather mood
Snowflakes lick her cheeks

Mother laughs at the ducks
how they dive into what
                         we can’t see

She has nowhere to go
                         but up
tending the business of sky

She has nowhere to go
                          but down
having settled
the questions
                          of dust
                          of ashes

She doesn’t belong to us anymore
She belongs to the naked trees
to the lake and its bad weather mood

to the ducks diving into what
                              we can’t see

                              (first published in Blue Lake Review)

Brown on Brown, painting by Emma Hoffman

Mother      Between Now and the Dark

Those Sisters with Scissors poke holes in you
Cut out tomorrow     Dismember yesterday
Entangle your yarn ‘til you don’t know who
                                          you are or where

You lose the bathroom or it loses you
as if you hadn’t just been there
I show you down my brother’s
                                          long corridor

past your mother’s final
self portrait     You wheel
your walker back to me   your daughter
                                          from California

            I see me on the potty chair
            you perched on the bathtub chanting
                                             “sass  sass  sass   spss”

You sit at table     Refuse your juice     Refuse
your tuna salad     I hear your voice in my childhood
“Eat a little drink a little”     “My voice?”  you marvel
                                       A sudden shift of light

Your gaze meets mine
“I wonder what you’ll write about me now?”
For this moment you know me    even here in Indiana

till the Shadow Sisters steal
your face from me     O I regret
the half a continent between us     I regret

I must leave you again     You point
out the window into late autumn
Red leaves flame on the backyard maple
                                        “Look how beautiful”

As if you hadn’t said that minutes ago
A sudden shift of light   and I too
can see the tree     As if

the Mother Daughter circle   still spins
As if those Scissor Sisters   aren’t forever
                                                               lurking

                                                               (first published in Stickman Review)

The Moirrae, from the Aeneid, Part I by Virgil

Cleveland Lecture & Workshop

"Let us build the bond of community so that the 
living and the dead image will become one and
 the past will live on in the present…" — C.G. Jung

Self Portrait With Ghost: The Art of Lament and Redemption

Lecture and Workshop presented by Naomi Ruth Lowinsky and hosted by Jung Cleveland and Braden & Associates

Naomi Ruth Lowinsky, Ph.D

Download Registration Form

Date: 5/17/13Time: 7 to 9 p.m.
Location:
First Unitarian Church of Cleveland
21600 Shaker Blvd.,
Shaker Heights, Ohio 44122

Lecture Description:

"Often I have such a great longing for myself. I know that the path ahead still stretches far; but in my best dreams I see the day when I shall stand and greet myself." — Rainer Maria Rilke

When you lose three children, your home and your country, how do you go on? If you are Emma Hoffman, a gifted painter in the impressionist tradition, you paint. Those paintings continue to speak of the redemptive power of art to Hoffman’s granddaughter, Naomi Ruth Lowinsky. Years ago, when she was in analytic training at the C.G. Jung Institute of San Francisco, Lowinsky had a dream in which she was told, "On your way to Jung’s house, you must first stop at your grandmother’s house and gather some of her paintings.” Lowinsky was the first child born in the New World to a family of German-Jewish refugees from the Shoah. She had a special tie with her only surviving grandparent, whom she knew as Oma. Oma taught her that making art can be a way to transmute grief and bear the unbearable.

News from the Muse: My Lorca Muse

The Story Behind the Poem

Where is the duende? Through the empty arch comes a windblowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby’s spittle, crushed grass, and jellyfish veil, announcing the constant baptism of newly created things. Federica Garcia Lorca


It is just over a year ago since Dan and I were in Andalusia (Southern Spain)--a trip we’d planned for many years. It was a pilgrimage for both of us. Dan’s Sephardic Jewish ancestors called us. My dark eyed, dark haired grandmother, who left me her Spanish shawl, called us. The Golden Age of Spain, when Jews, Muslims, Christians lived together--mostly in harmony--influencing each other’s cultures, poetry and music--called us. The restless dead--those who suffered terrible deaths in the Auto da Fe of the Inquisition, or in the Spanish Civil War--called us. The ghost of Federico Garcia Lorca, the great Spanish poet who was murdered by the fascists in Granada, whose work has spoken to me as long as I’ve been writing poetry, called us.


Today the mail brought me a small poetry magazine, Visions International, which has published four of my poems from that trip to Spain. This is what calls me to write about Lorca, who sprang to life as my muse in Spain. I was reading Leslie Stainton’s fine biography, Lorca: A Dream of Life, all over Southern Spain; it helped me understand Lorca’s power over me. Stainton writes: “The poet’s mission, according to Lorca is ‘to animate...to give life’” Yes! “Metaphor, Lorca insisted, must give way to the hecho poético--the 'poetic event' a phenomenon at once illogical and incomprehensible, as miraculous as 'rain from the stars.'” Yes!

Lorca cuts through to the essence of image, to the immediacy of experience. He works to achieve those moments when something from the depths leaps to mind, breaking the rules of rationality, yet making a deeper kind of sense. In Lorca’s poetry, the conscious and the unconscious meet. This is what I’m after in my own poetry, but it is not easy. Lorca gives me courage and inspiration. The distinction he makes between metaphor and “poetic event” strikes to the heart of what I’m after both as a poet and a Jungian--felt experience that brings together body, soul and spirit, inner and outer, dream and waking life.

I remember standing in his bedroom in the lovely Lorca home outside of Granada--the Huerta de San Vicente. There were red, blue and yellow Moorish tiles on the floor, a tall palm outside his peaceful window. It was there--at his small wooden desk--that he sat and wrote. Over his bed hung a shrieking image of the Mater Dolorosa. Lorca carried within him that paradox--deep peace and great agony.

I saw the grand piano, and the Victrola on which Lorca is said to have played a recording of a Bach cantata over and over while working on “Blood Wedding.” Again, the tension of peace and agony. I remember white lilies on the table, and a portrait of his little sister Isabel playing the piano.

I mused over the distinction Lorca makes between the Muse and duende. “All that has black sounds has duende,” Lorca said. “These black sounds are the mystery, the roots fastened in the mire that we all know and ignore, the mire that gives us the very substance of art.” For Lorca, the duende has everything to do with death. Spain is a country haunted by restless ghosts and their terrible deaths. But Lorca doesn’t think much of the muse. For him she is distant and tired; she doesn’t deal directly with the dead.

Not my muse! My inner landscape is haunted by restless ghosts and their terrible deaths, and the Sister from Below speaks directly from their realm. In my memoir, The Sister from Below, she appears as a ghastly Eurydice, a “ghostly wraith, a dark specter....Her dark eyes are black eye sockets." She describes herself as “the black hole, the void...the place of rot...the black earth of the soil being turned.” So you see, she is the mire of which Lorca spoke, the duende which blows “over the heads of the dead...smells of baby spittle, crushed grass...,” becomes the rich soil of poetry and deep song in which new life can grow.

Turning over the mire and the soil of my experiences in Spain when we were in Granada, I worked on a poem that had begun in Madrid. I hoped to evoke Lorca. It was difficult. I kept sliding into story when I wanted deep image--bitter root from Africa, incantatory Arab magic, duende. So I sat with my notebook, looking out a window at the luminous Alhambra, and called on Lorca to help me with the poem.

He turned out to be a charming ghost--said he loves visitors. He was also a very generous ghost. He lent me his tools: his gypsy knife (the courage to slash away at what is not essential), his Harlem feet (those jazz rhythms he heard in New York that break through expected beats) and his abracadabra tongue (the incantatory use of language--just this side of magic which casts spells, invokes gods or moods, calls up a dead poet).

Here is the poem my Lorca Muse helped me write:


FOR LORCA, ON THE BROKEN BACK OF HIS STORY

Always, always: garden of my agony… The blood of your veins in my mouth

Federico Garcia Lorca

Time has not washed you away, nor have the rains
In the Puerta del Sol, or sorrow’s brown river

They still dream you in Madrid, they feed you
apples and honey, but what of

The hungry mouth of your grave, what of
The silver coins that never found your eyes?

Eyes of the Guernica bull. Burning eyes
Of my ancestors in the Auto de Fe…

Feed me on pomegranate seeds. Long ago
You promised me, what Grandfather Goethe

Promised us both. Show me
The face of your death. Hand me

A basket of bone to gather the parts
I need— your gypsy knife, your Harlem feet

Your abracadabra tongue. Your blood sings
In my veins. Your roots grow in my belly. Time crushes

Your harvest, with purple feet. Time has not
Washed you away, nor have the rains

In the Puerta del Sol, nor sorrow’s brown river
(published in Visions International #85)

Picasso's Guernica

News from the Muse: The Day of the Dead Muse

Truchas, New Mexico

At dawn of the Day of the Dead I saw the sun rise over the Truchas Peaks. It blazed in the branches of the aspen, whose leaves were yellow and glittering in the thin air.

We don’t sleep well here. Is it the altitude—8,000 ft.? Is it the thinning of the veils between the worlds at this time of year? Is it the spirits in motion, touching us, awakening us to other worlds?

Dan and I are here with our friends Patricia and Donald, in a state of arousal and amazement. The mountains are touched with snow; the aspen and the cottonwoods are glowing with gold; there is a holiness here that holds us and guides us—we walk in beauty.

On the Day of the Dead I was touched, as I often am, by the spirit of Don Sandner. He loved this land and knew it well. He had studied the Navajo and their rituals and learned from them the deep ways of an ancient people. He brought that knowledge to the community I joined in the ‘80s, when I became a candidate at the San Francisco Jung Institute.

I wanted to become a Jungian analyst because Jungians were the only folk I knew who were open to the fluidity I experience between kinds of consciousness. Mostly they were open-minded when I spoke of worlds beyond the everyday, meanings beyond those understood by the “Spirit of the Times.”

But Don Sandner was more than tolerant, more than interested in the mystic and the weird. He cultivated it; he lived it. He led a drumming ritual for the candidates, at Jessica’s barn in Petaluma. Before we entered that sacred space, Don smudged us with sage, and used an eagle feather—whoosh!—to cleanse our energies. Then we lay ourselves down among sweet smelling bales of hay while Don began to drum. He drummed and he drummed. And the visions and the visitations began. When the White Wolf appeared to me, he knew who she was.

He left us for the other world, very suddenly, one Easter almost 15 years ago. I had had a dream about him—one I told him—that he was walking down a river to the sea. A white baby alligator had his hand in its mouth and was guiding him. I did not know then, that the baby alligator was a psychopomp—a guide to the underworld. I wonder if Don did.

I do know that he lives in me, visits often in my meditations, is glad that Patricia and I are here, in this wild and sacred country, editing a book of essays about the living experience of other realities.

Don’s passage left a big hole in our community. I wrote about this in a poem.

SINCE HE LEFT HIS BODY
for Don Sandner

He knew what to do with an eagle feather
how to sweep clean the air around us
clear our heads of angry noise
as we entered the barn
We lay on sweet smelling grasses
we who’d been smudged, who’d been purified
and he beat and he beat and he beat on that drum—
we thought it was forever—the White Wolf appeared…
Those who know the animals
who know feather sweep, drum beat
corn dance—how the people shift
from one foot to the other—
know there is a place for each one
coyote, snake, rock, child—
So the White Wolf sings to the hills
So she sings to the fire—
The truth is
we’ve never been the same
since he left his body so suddenly—
teeth of the alligator
scissors of mind—rocks severed
from gods—
trees cut down
cut down—
Are we lost?
Nobody beats the drum
Nobody sweeps clear the air
Nobody remembers the dance
Nobody is a dark cave
where the White Wolf
still lives
See?
She lifts her head to the mountain
She pricks up her ears…

This poem was first published in the Jung Journal