News from the Muse: The Muse of Age

Photo of Emma Hoffman, age 80, surrounded by her paintings

The Muse of Age

I have been invited to do a poetry reading for a conference called “The Poetics of Aging.” What an interesting name. It implies that there is something poetic about aging. What can this mean?

As I sorted through my poems I was surprised to see how many fit the theme. I hadn’t thought of myself as a poet of the aging process, but I guess it makes sense. My poetry began with an anguished wail of a poem about the death of my Oma. She was a fine painter and it was through her example that I learned how meaningful it is to make art out of one’s life. Also, she had been a poetic old lady as long as I knew her. Though that poem burst through me in my late ‘20s I didn’t really hit my stride as a poet until I was in my ‘50s--a time when the issues of age begin to shape one’s consciousness. It’s a shock to realize that age has long been a muse for me.

I’m not sure what the conference planners mean by the “Poetics of Aging” but I can tell you my musings about it. The word poem comes from the Greek poiein, which means simply to make, to create. Many of my poems are about what I make of growing old, of visitations from ghosts, of watching my mother lose her orientation, of seeing friends get ill, or drop dead after taking a shower one morning before work; what I make of the losses, the pleasures, the bodily and emotional aches; what I make of the long view age brings; what I make of death’s presence. That’s poetic.

The word “harvest” keeps coming to mind. This is a time of harvesting the long work of becoming myself--I’m just figuring out how to be who I am. It’s a time to harvest poems, to gather them for readings, publications, to let them lead me into blog postings. I harvest the fruit of a lifetime of relationships with so many I love. People I knew when I was much younger seem to be making mysterious reappearances in my life as though to bring me full circle. That’s poetic.

I think of the other meaning of harvest, as in the “grim reaper.” Death is a kind of harvest as well. That’s poetic.

Aging is embarrassing--words slip out of your ken, whole movies of your life disappear into thin air, familiar faces lose their names. You used to say “It’ll come back to me.” Now you’re not so sure. Aging is humiliating--you lose capacities--things you used to do easily become difficult or impossible. Fingers don’t work, knees complain, getting up in the morning requires a long unraveling. How is that poetic? Well, how about a poem that lists your complaints? Here’s one:


BECAUSE OF WHAT ACHES

Because your knee, like the knee of your father before you
prophesies rain

Because you’re as weather beaten as the willow
which creaks in the night

Because your hips are as surly
as a girl at fourteen—fire tamped down and smoking—

Because your knuckles are cranky, remembering
your grandmother fumbling with buttons, with jar lids

Because words have failed with your brother
don’t do much good with your son

Because your neck tries to rise above
an aging tangle of knots

Because you’ve given yourself to the wild ride—chased after toddlers
broken commandments, had words with the owl on the roof—

Because your eyes long for the mountain
Because the old rose still blooms

You’re not ready for ash, or thin air

Submit to the fire your early drafts
your sagas of shame, your lost directions

The truth is—you’re still tied to this ferment—
because of what aches

[First published in Eclipse]


As often happens, the poem leads me into unexpected places, and suddenly the poem shows me that what aches is what matters--what ties me to all this ferment. I make the poem and the poem makes what aches more bearable.

Death is a frequent visitor to my meditations. How long do we have before we pass into who knows what? If you’re lucky enough to have a partner, who will go first? Love changes as you age. If you’re lucky it gets sweeter and deeper. Also harder to make. What’s poetic about that? Poetry goes everywhere. Who says you can’t write an aging love poem?


LATE IN LOVE

The body gets cranky— hips lament, knees argue, hands
become ancient maps—making love requires a strategy
of pillows. Touch me where I ache. Tomorrow
is a sly intruder. Remember me to the hours that cup our wine.

It’s been years since the blood thundered.
Whose shadow will be first to fall? The cards say
our work is done. The shovel is at rest. The cards say
there’s more to come— look how this day brims over.

The fountain you tend is a psalm—it sings
to the stones and the lilies, of the spirit
that stirs the grasses, whirs hummingbirds’
wings, dances trees, leaps free

of the body’s complaints.

[First published in Sierra Nevada Review]

--
So much poetry is about our transient passage in this life--how the fact of our death makes luminous and vivid our lives. And the making of a poem small thing that it is--makes love leap free of the body’s complaints in the pages of a book, a poetry review, or on a blog.

My Oma’s late in life self-portrait portrays a radiant woman in the full authority of her art. She is my inspiration still for the “Poetics of Aging.”

[Emma Hoffman, Self Portrait 1957/8]

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

News from the Muse: The Muse of Persimmons

True joy is simple: it comes and exists from itself, and is not to be sought....All you must do is fulfill your task.

C.G. Jung in The Red Book

The news from the muse is persimmons. The little tree in front of our house is aglow with them. The joy they give me is a surprise. Persimmons are new to me. I never paid much attention to them. I’m a summer fruit kind of girl. Give me a juicy peach, a sassy apricot and I’m happy.

When Dan and I moved into our town house a few years ago, the father of the seller showed us the garden he had tended. His name was Mohammed. We gathered his son and daughter-in-law were not interested in roses and trees. He introduced us to the persimmon he had planted. It had not yet borne fruit.

Mohammed was gaunt, dark eyed, white haired. He told us he was from Bosnia. I wondered what he had been through. We’d followed, with horror, the terrible stories of war and genocide in the ‘90s. As the daughter of refugees, I identify with refugees. I wrote a poem during those years about that identification. It’s in Adagio & Lamentation.

again the raptor god

I’ve never stopped hearing the screams
never stopped smelling the blood
Vietnam Vet on the radio


1. repeat after me

we are flesh (for now)
have bones
wake up in the middle of the night
in the grip of what
won’t drop us

words gather their stories around us
when we were children there was a song
about a bird who flew away

do you remember how the words grew axe heads?


all night my love you shook the bed
were you walking through the mountains to Albania?
dancing on a bridge in Belgrade?



2. the good life

we were fat and sassy
had three babies in a row
grapes grew
in our arbor
cock crow woke us
every morning



3. old lady

I have seen you on tv in your bedroom slippers
in the snow your dark haired grandson carried you
over the mountains across
the border your eyes enter
my house follow me down
the carpeted hall

rain on the roof
rain on the only blanket you have

O son of the mother
what have you done with the bones
of our grandparents?



4. Passover

the angel passed over our house
nobody

came to the door
in a black ski mask
nobody

ripped up our baby photos
tossed fire on our roof
nobody
made us to lie down
in the back yard

under the fruit trees



Persimmons came a few years later. Nothing prepared me for their glory--how they filled the tree with golden suns, how they tasted--subtle, nutty, wise. A strange thing to say about a fruit, but I find myself musing--if there were a garden of maturity, a garden of the fruit of ripeness, the tree of late life would be a persimmon.

Whenever Dan brings a handful of the elegant fruit into the house, I think of Mohammed--how moved I was by him. His son liked fast cars and motorcycles. His daughter-in-law liked shoes and boots with spikey heels. We’d seen the signs of these obsessions when we first looked at the house. They’d painted the place in blazing colors--orange, metallic blue, yellow. We changed all that. But the gifts of Mohammed, who had tended the roses, planted the persimmon, continue to nurture us and give us joy. His children have gone on to bigger and better in America. Does Mohammed remember his persimmon tree? Does he have any idea of the treasure he has left us?


I muse about the magic of persimmons. What makes them so enchanting to me? Is it that, when you cut them open, you see a design in the shape of a mandala? Is it that they look like tiny suns, or like the orb the Emperor holds in the Tarot Deck? Is it that like me, like Mohammed, they are wanderers? They came originally from China, wandered to Japan where they’ve become the most beloved of fruits, before they made their way to the new world. Is it that they belong to a genus--Diospyros--which means fruit of the gods?

The joy I feel at the sight of the luminous persimmon tree reminds me of a dream I had some years ago, of a tree filled with golden flowers. The dream took me back to Jung’s essay--a Commentary on the Secret of the Golden Flower--which is an ancient Chinese alchemical text. Jung writes: “The Golden Flower is the light and the light of heaven is the Tao.” The Tao is mysterious. It has brought golden fruit of the gods from China to my front garden in America via an old man from Bosnia.

I wish my Oma were here to paint the persimmons--perhaps a still life with glowing fruit on a silver tray, a bowl and its shadow nearby. Perhaps she’s paint the treeits branches weighed down by the golden fruit. In the middle of the night I remember that we found a painting by her, of persimmons, last time we visited my mother. She did not paint the Fuyu persimmons we’re enjoying. Hers are Hachiya persimmons. But they too, are magical.

Painting by Emma Hoffman

I wish I could give Mohammed a basket of his persimmons. Instead I wrote him a poem.


TO AN OLD MAN FROM BOSNIA

I never expected persimmons.
That tree you planted—
before this became our home—

was a stick in the winter mud.
Your name, you said, was Mohammed
I wonder what lies behind you.

You tended your son’s garden—
what he loved was—
fast cars.

It’s been three times September
since we bought this home—
that scrawny tree surprised us—

clusters of hard green fruit, turning gold.
I’d not known persimmons
their taste from another world

the splendor they steal from the sun.
I wish we could talk.
We could walk in the garden

admiring your plantings.
I’ve been wanting to tell you, Mohammed
I never expected persimmons.