The Muse of the Psalms

Mainz Book of Hours 

Save me O God; 
For the waters are come in even unto the soul. 
I am sunk in deep mire, where there is no standing; 
I am come into deep waters, and the flood overwhelmeth me. 
(The Holy Scriptures, Jewish Publication Society, 1917)

In the Valley of the Shadow

 

you are the last living generation 

of the six that went before you 

passing that invisible medicine basket 

from one generation to the next… 

Anita Cadena Sánchez 

from her poem “Medicine Basket” 

in Soul Making in the Valley of the Shadow p. 6 

Medicine Basket

On June 12th of last year, the Sister from Below celebrated the publication of Soul Making in the Valley of the Shadow with a blog called: The Muse of Deep River. We of Deep River—the poetry circle I lead at the Jung Institute—had begun to feel the shadow of the pandemic lifting and the political scene brightening as the Biden administration vaccinated the willing and passed the American Rescue Plan which stimulated the economy, sent money to families with children and helped out state and local governments. That upbeat mood did not last long. New variants of Covid 19 attacked us, and the political will continue to support families with children, to protect voting rights, to protect our Mother Earth, seems to have ebbed away.

We’ve recently passed the one-year anniversary of the day Lady Liberty was roughed up so badly at the Capitol in Washington, D.C. The question, now hanging in the air is: “Are we losing our democracy?” On the first anniversary of that infamous day, President Biden accused the former president of “holding a dagger to the throat of democracy.” The New York Times Editorial Board warned us that we face “an existential threat from a movement that is openly contemptuous of democracy and has shown that it is willing to use violence to achieve its ends.” Republican lawmakers are passing bills that “would make it easier for lawmakers to reject the votes of their citizens if they don’t like the outcome.” (The New York Times Sunday Review Jan. 2nd, 2022) At this writing, the news is unbelievable: the Republican National Committee has decided that what happened on January 6th 2021 is “legitimate political discourse!” Excuse me? Have you watched the horrifying videos of that coup attempt on YouTube? Where are we? In Germany, 1933? In Mandelstam’s Soviet Union? In Milosz’ Poland? It’s not just the virus that hangs heavy in the air, but a terror that our elections are about to be undermined, and that the hopes for real change kindled by the victory of Biden and Harris, by the Black Lives Matter Movement, by the Green New Deal, by the John Lewis Voting Rights Bill, by the Build Back Better bill, are in deep trouble. “What is poetry which does not save/Nations or people?” asks Czeslaw Milosz in his famous poem “Dedication.” He answers this impossible question in another poem, “In Warsaw:” 

My pen is lighter 

Than a hummingbird’s feather. This burden 

Is too much for it to bear. 

And yet, poems have been written about this unbearable burden since the psalmist took up his lyre and sang: 

Why, O God, has Thou cast us off forever?
Why doth Thine anger smoke against the flock of Thy pasture?
(Psalm 74:1 The Holy Scriptures, Jewish Publication Society, 1917.) 

In troubled times many of us turn to the Psalms, as we did in Deep River when, after the 2016 election and the assaults of climate change and the pandemic, we found ourselves writing poems about a world turned upside down and inside out. Like the psalmist, Deep River poet Daniela Kantorová pleads for help from the divine in her poem “The Ship:” 

Dear God, please turn the ship
that floats in the rain above Foothill Blvd.
It lands in an apple orchard
The back merges with the land
(p. 65)

Soul Making in the Valley of the Shadow became the name we gave our process of reading and writing. Eventually, it became the name of the book of poems we gathered as a bulwark against the looming catastrophes of our times. The origin of the name is in these famous lines from Psalm 23: 

He restoreth my soul; 

He guideth me in straight paths for his name’s sake. 

Yea, though I walk through the valley of the shadow of death 

I will fear no evil, 

For thou art with me 

Thy rod and thy staff, they comfort me. 

(Psalm 23: 3-6 The Holy Scriptures, Jewish Publication Society, 1917) 

In his book, Keeping Faith with the Psalms, Daniel F. Polish refers to the profound idea that the “I” in this psalm is the soul on its life journey (p.171). In this way, making a poem is “making soul.” As I wrote in the Introduction to Soul Making: “The Muse is the voice of the soul, speaking in language that blends reason and mystery, She makes meaning of the incomprehensible.” (p. vii) 

Many of the poems in our collection are about this process. Kent Ward Butzine opens his poem “Pandémie Hypnagogique” with a description of soul loss: 

Everything is receding    darkening 

there is sadness    as the trees go 

the river    birds and birdsong    the sky 

all beloved 

Psalms are both poems and prayers. Many poems meander into prayer. They mix the stuff of everyday life with invocations to the divine. In Sheila de Shields’ poem “Flight of the Mind,” she prays for herself in old age: 

in my last days 

may I sit by the black basalt fountain  wild blue 

      irises 

and hooded orioles among my redwood trees 

let me recall the names of my children… 

In my poem “Birth Day Poem 2017” I pray: 

Carry me back   through the laboring dark 

into first light   first cry   first touch 

of mother’s hands 

Later in the poem I refer to political events as “those evil spirits” and as “the furies” who “rave/ and mutter,” who “spooked// my cradle” as my parents began to learn of “the trains the chimneys” in the Europe they had recently fled. What spooked me all over again was the anti-Semitic chants we heard from the right wing in Charlottesville, Virginia on Aug. 12, 2017, when a "Unite the Right" rally turned deadly and the hate was palpable. 

There are those who argue that it’s not kosher to mix poetry with the political—they are different spheres—just as the Jews separate the everyday from the Sabbath, just as Jung made a distinction between the Spirit of the Depths and the Spirit of the Times. But in Deep River we found we needed to mix the political with the profound themes that are poetry’s usual domain for the sake of our very souls. Poetry was our way of walking through the Valley of the Shadow. Despite the title of our book, it hadn’t fully come to me how much our path is influenced by the Psalms. As Robert Alter points out in The Art of Biblical Poetry: 

The God of biblical faith…is not a God of the cosmos alone, but also a God of history. A good many psalms…are responses to the most urgent pressures of the historical moment.
(p. 121)

It is moving to realize that this poetic tradition—which speaks to the Divine from the overwhelm and panic we feel when in the grip of history’s violent fist—is as ancient as the Hebrew Bible. There is a lovely Jewish myth about King David, the Psalmist, which tells us that he wrote the psalms with “The Holy Breath” (Tree of Souls p. 279). In Judaism, Ruah, meaning breath or spirit, is one of the levels of the soul. Similarly, the word inspiration, which comes from the Latin word inspirare — meaning to breathe—came to mean divine guidance in Middle English. Thus our very language speaks to the spiritual nature of making poetry. 

David and his Lyre

The Sister from Below is Delighted to Announce the Publication of “Songs from the Deep River: Selected Poems from Soul Making in the Valley of the Shadow” in the Jung Journal 

The sibyl breathes deeply 

The vapors from the fire below 

She is no longer herself 

She from a respectable family 

She who is reliably self–possessed 

Is unhinged by the smell of death 

      Virginia Lee Chen from “Sibyl” p. 27 

Deep River is honored that a selection of poems from Soul Making has been published in the latest issue of The Jung Journal (Volume 15, Number 4). Jeffrey Moulton Benevedes, the editor of The Jung Journal, doesn’t seem to worry about mixing the Spirit of the Times with the Spirit of the Depths. He writes eloquently of our crazed times in his introductory essay to this issue: “To the Reader:” 

These days the dizzying pace and sheer ferocity of changes in our world leave us little to no time to recover from one catastrophe before the next hits. A pernicious pandemic and intensifying climate change events surge like tsunamis over the globe, leaving us roiling in existential crisis and economic, political and social instability… 

How much can we take? 

What do we do? Where do we go to find refuge, solace, healing, a way forward? 

Doesn’t this sound like the psalmist’s cry? “My soul is sore afflicted;/And Thou, O Lord, how long?” (Psalm 6:4) Or like Dossie Easton’s lament in her poem “With my Pink Pussy Hat On”? 

How will we open our hearts 

                                      to each other 

in a country where half the voters are in love 

with their hating  

of people like me: like for instance: 

            women they can’t own, or men who can  

love other men, 

                       or those who belong to other cultures 

                               part of Humanity’s far flung treasure… (p. 17) 

Benevedes continues: 

Depth psychologists, spiritual leaders and healers of all kinds strive to help heal the World Soul, one psyche at a time. 

And artists make art. Out of the spirit of the depths, they engage with the spirit of the times in a way that anchors us, expressing our suffering and our light. (p. 1) 

I agree with Benevedes that it is the very mingling of the Spirit of the Depths with the Spirit of the Times which helps us locate ourselves and cast light on our emotions. It describes a number of poems in the Soul Making collection, among them Raluca Ioanid’s “Bucharest Sestina” about her “vanished grandparents”: 

In our pact never to forget 

the momentum of loss 

is greater. Have our night–vanishing grandparents 

opened the door for dreams 

and days and meals and adventures sweetened by our 

kinship to this family of ghosts? (p. 47) 

or Clare Cooper Marcus’ poem “Ann Frank’s Tree” 

In spring, chestnut flowers 

like ghostly candelabra 

lit her days, as they did mine 

not much distance west, across 

the channel… 

For her, the tree beyond her grasp 

stood achingly alive, dear daily reminder 

of leaf–birth,  

                   leaf fall… (p. 52) 

Flowering Chestnut tree

or Connie Hills’ poem “Time to Come” 

If you visit Van Gogh’s grave 

go after the gust of summer… 

The quaintness of the place 

so placid you can imagine 

standing at Vincent’s burial 

that July midi 

surrounded by lemon sunflowers 

battered dahlias 

Hallelujahs oozing 

from their thousands of 

amber throats… 

                   (pp. 41-2) 

Benevedes goes on to write of Deep River and quotes the beautiful telling of our story by Poetry Editor Frances Hatfield: 

For the past fifteen years, here at the San Francisco C.G. Jung Institute, something extraordinary has been quietly unfolding. Poetry editor Frances Hatfield provides the origin story of the poems you will read: “At the instigation of Naomi Ruth Lowinsky’s “Sister from Below,” poets, nascent poets, and poetry lovers have gathered in the library of the Gough Street building…each month, immersed in the ghosts and spirits and deep soul of that holy place, and cooking together in the power of mythopoesis to express grief, beauty and love. Out of that profound communitas, a group of poets emerged who call themselves, aptly, the ‘Deep River Poets.’ This issue’s poetry section features a selection from a new book they have published as an offering to the institute and to the Extended Education program under which they have met. One can sense how these nine poets nourished each other as their voices of witness, grief, praise, awe and exuberance emerged in the presence of great poets, considered in the light of our extraordinary times. (p.3) 

We are deeply grateful to Jeffrey Moulton Benevedes and Frances Hatfield for their generous response to Soul Making and to Managing Editor LeeAnn Pickrell for the beautiful layout of the poems. 

 Slave Ship: Wood Engraving by Smyth

“A Light So Terrible” 

In the Psalms, as in many of the poems we turn to in terrible times, we seek access to a higher power, a deeper wisdom, a more expansive way of understanding, when the world as we know it cracks open, spilling out our firm beliefs and our grasp of what we think of as truth. When things we never thought could happen in America, or things we ignore or deny, are flung at us in a light as terrible as nightmare, what is our responsibility as poets? When we learn that the former president had draft executive orders drawn up involving the Department of Justice, Homeland Security and Defense—in a plot to seize voting machines after the 2020 election—what can we do or say? (My father, a refugee from the Nazis and a passionate believer in American democracy, is turning in his grave.) What scares me more than anything is how little outrage and furor I hear in the collective. Psalm 94: 3-6 comes to mind: 

Lord, how long shall the wicked, 

How long shall the wicked exult? 

They gush out, they speak arrogancy; 

All the workers of iniquity bear themselves loftily. 

They crush Thy people, O Lord, 

And afflict Thy heritage. 

They slay the widow and the stranger, 

And murder the fatherless… 

We who have put our faith in the wisdom of our Founding Fathers, feel fatherless. We who have fought for Women’s Liberation, Racial Justice, Equality and the well-being of our Mother Earth find ourselves still in the thrall of the Patriarchy—bereft of Mother Power. Orphaned. Terribly afraid. 

Amanda Gorman at Inauguration

But there is help and wisdom among the young and among poets. Amanda Gorman, who gave us her beautiful Inaugural Poem, “The Hill We Climb,” continues to inspire us. In an opinion piece in the New York Times Sunday Review, (January 20, 2022)—“If You’re Alive, You’re Afraid”—she reframes the meaning of fear. She had almost decided against being the Inaugural poet because of her fear—amplified by friends and family— that she might lose her life on that very visible platform. She suffered with insomnia and nightmares as she wrestled with her decision. “Was this poem worth it?” She writes: 

And then it struck me: Maybe being brave enough doesn’t mean lessening my fear but listening to it. I closed my eyes in bed and let myself utter all the leviathans that scared me, both monstrous and miniscule. What stood out most of all was the worry that I’d spend the rest of my life wondering what this poem might have achieved. There was only one way to find out. 

If Gorman was praying to a higher power in her dark night of the soul, it strikes me she includes the power to strike fear as an aspect of the deity. This resonates with the Jewish view of the Divine who is not only about goodness and kindness, but about wrath and trouble. Her breakthrough came when she could listen to what her fear taught her. 

In the year since the Inauguration, Gorman has written a new book of poems, Call Us What We Carry. I want to quote from sections of the opening poem in that collection—“Ship’s Manifest”—in which she speaks to the role of the poet in our awful times. Like the Psalmist who urges his people to “Depart from evil and do good” (Psalm 34:15), Gorman clearly sees the poet’s function as ethical as well as spiritual. It is worth noting that a ship’s manifest lists the cargo, passengers and crew of a ship. It is an accounting of what the ship carries. Ship’s manifests for slave ships are one of the few places historians of slavery can find the names and some details about the people who were stolen from Africa and brought to the New World against their will. The poem never mentions the Middle Passage, but its dark waters, its ghosts and demons flow deep below the surface. Notice she holds poets accountable, as though our work requires the tools of an accountant making lists. In fact, much of her poem is a list. Her passion is contagious. Her word play is brilliant—for example, “An ark articulated?” or “Our greatest test will be/Our testimony.” Her use of the word “testimony”—which in Black Churches means telling how the Divine has interceded in our lives—brings us deep into the realm of the psalms, as does the line “A light so terrible” which makes clear how difficult, soul wrenching and essential is the work of the poet. 

Here is a section of Gorman’s poem: 

The poet’s diagnosis is that what we have lived 

Has already warped itself into a fever dream, 

The contours of its shape stripped from the murky mind. 

To be accountable we must render an account: 

Not what was said, but what was meant. 

Not the fact, but what was felt. 

What was known, even while unnamed. 

Our greatest test will be 

Our testimony. 

This book is a message in a bottle. 

This book is a letter. 

This book does not let up. 

This book is awake. 

This book is a wake. 

For what is a record but a reckoning? 

The capsule captured? 

A repository. 

An ark articulated? 

& the poet, the preserver 

Of ghosts & gains, 

Our demons & dreams, 

Our haunts & hopes. 

Here’s to the preservation 

Of a light so terrible. 

                 from Call Us What We Carry, “Ship’s Manifest.”

Miniature from Hafiz-i Abru’s Majma al-tawarikh

Owl as Muse and Medicine

                                                           Haven’t you stood . . . naked

                                                           in the gaze of the Great Horned One?

                                                          —Naomi Ruth Lowinsky

Owl Medicine

Dan gave me an owl carved of black rock by a Cochiti Pueblo Indian. It fits perfectly in my hand, just the size of my palm, like those little clay goddesses ancient women held onto when in labor. It is clearly carved by a master—a few deft strokes release the spirit of owl within. I hold the owl in my hand while I meditate. It is good medicine. It calms me, reminds me it is my totem. When I go off into catastrophic thoughts about climate change and fractured ecosystems, about melting glaciers and loss of species, owl speaks to me. Owl, after all, not only sees in the dark, owl knows how to live in the dark.

Owl says:

If human hands can find my spirit in a rock, then human hands can remember what they knew in ancient time, about healing Mother Earth, cultivating her creatures, bringing people back to their senses.

Owl revealed himself as my totem after Dan and I moved from a big urban home, where we had lived with our children, to a house on a ridge for just the two of us. The experience of living in that house cracked open my citified consciousness. It taught me the ways of the sun as it moved from summer to winter and back. It gave me a bird’s eye view of the fog flowing over the Berkeley Oakland hills. Trees were our companions, hawks and falcons. Once an eagle visited with me, sitting on a nearby power pole. I dropped down to my essential nature as a poet in that house. My inner life opened and my Muse began to speak. At night we often woke to the uncanny sound of owls calling across the valley. One night I saw him, the Great Horned One, perched on a corner of our roof. Ordinary consciousness cracked open and I was in the ruthless grip of that raptor’s fierce gaze.

The time came when we had to leave that house. It was too expensive to maintain and not fit for aging joints. The house had a hard time letting me go. It spoke to me in a poem:

Lament of the House

Haven’t I stroked you with fingers of light?
Haven’t I gentled your eyes?
Haven’t I filled you to brimming
with the green world?     How it goes
golden and brown     How it loses

its leaves and goes bare?    Haven’t I shown you
the setting sun     streaked
purple and orange
while white fog     like sea foam
flows over the western hills?

Haven’t you stood on my deck
poured red wine on the earth
said praises?     Haven’t I held
your clay goddesses     your dancing
Ganesha     your Zuni frogs?

How can you tear me apart     empty me out
get me staged to be god knows whose
fantasy house on a ridge?     I who’ve been source
of your source     sacred seat
as clouds form     hawks dive

Haven’t you sat     on that old yellow chair     visited
by poetry?     Haven’t you stood in me     naked
in the gaze of the great horned one?
Will you send your gods into exile
in cardboard boxes?     Will the soles of your feet be gone
                                                          from my spiral stairs?

Where will your enthusiasms go     your wrestling
angels     your love cries?     “Nasty” you called me
when I thrust that redwood splinter under your nail
How else can I say it? You and I
                                                         are inside one another


That house and the Great Horned One, are in me still. Owl medicine speaks to me in the townhouse I’ve come to love.

Participation Mystique

               We have lost our sense of unitary reality, our experience of identity and of

               the sympathy of all things, and as a result we have fallen into solitude of a

               dead and empty cosmic space.

                                                     —Erich Neumann

My stone owl is a creation of a kind of participation mystique, the radical empathy of a maker who can see owl emerging out of rock. This requires a profound “at oneness” with the natural world. A new book of essays from Fisher King Press takes on this rich topic. Shared Realities: Participation Mystique and Beyond is edited by Mark Winborn. On its cover is a powerful painting by Susan Bostrom–Wong of the San Francisco Jung Institute. Winborn has given us many gifts in this volume, not the least of which is the above quote by Neumann, which he cites in his Introduction.

This book helps me wend my way through the confusion of a Jungian conundrum I have long pondered: If we are focused on our own separate path of individuation how do we soften our differentiated edges to feel the pulse of the anima mundi—the world soul? How do we listen to Pachamama—our Mother Earth—and respond to her suffering? How, as climate changes and species disappear, do we deal with our own “solastalgia” (pain caused by the state of one’s home environment), and our collective “nature deficit disorder?”

Jung wrote powerfully about experiences of oneness with the natural world:

At times I feel as if I am spread out all over the
landscape…and am myself living in every tree, in the splashing
of the waves, in the clouds and the animals that
come and go, in the procession of the seasons.

But Jung was deeply conflicted about participation mystique. He understood that western consciousness was limited, and he was influenced by Indian, African and Native American forms of consciousness. Yet he often wrote of participation mystique as a regressive, infantile state in which one is not differentiated from others or from objects in the natural world. This point of view is still dominant in the Jungian world. Jerome Bernstein writes an illuminating essay about this, “Healing Our Split: Participation Mystique and C.G. Jung.” Bernstein argues that despite himself, Jung was trapped in the lens of the Western psyche, its cosmology, its logic, its language. He didn’t understand the world view described by Sioux Indian author Vine Deloria Jr.: “that although the Native feels communion and relationship—even soul connection—with the tree, he does not see himself literally as the tree.”

Bernstein traces Jung’s struggle with this conundrum and his growing recognition of what Native people understand, that we are intertwined with Nature. Jung, after all, was eloquent in his lament of modern culture’s severance from its "primitive" roots. Listen to Jung words:

Man feels himself isolated in the cosmos. He is no longer involved in nature…Thunder is no longer the voice of a god, nor is lightening his avenging missile. No river contains a spirit, no tree means a man’s life, no snake is the embodiment of wisdom, and no mountain harbors a great demon…

Bernstein is graphic about the danger we are in. We are “being threatened with species suicide as a result of over–specialization of our inflated organ of consciousness. Global climate change, weapons of mass destruction, rape and pillaging of the earth as if it didn’t matter…are the result of that creative genius.”

Owl Transport

On a writing retreat on Kauai Dianne Braden had a terrifying middle of the night experience that knocked the wind out of her “inflated organ of consciousness” and rendered her as “small as the most vulnerable creature on the forest floor.” She woke to the feeling of a strange presence. In her essay, “Songs Never Heard Before,” she writes:

I was suddenly completely taken up by a strange awareness that there was life teeming out there around me, life that was simple, wild, and on the hunt just outside my window…at least I hoped it was outside…The intensity of this awareness was only outdone by the simultaneous understanding that I was surely losing my mind.

Braden was given a dose of owl medicine. In her powerful essay she tracks the effects of this dose of nature on her life and her clinical practice. She comes to understand that “losing” her mind cracked her open to an experience of participation mystique which revealed new territory in her thinking. She writes:

I was unprepared for…the power of such a “spirit of place,” an energy belonging to the land and its creatures. It’s clear that the spirit of place seeps into consciousness through psychoid gateways opened for us, or left unattended, luring us deeper into the dark tropics of soul.

With Braden, I believe that we need to “lose” our minds, take owl medicine, know we are prey as well as predator, in order to find our way back to our senses, to our place on earth.

Theodore Roethke, the father of ecopsychology, understood that our psyches are organized around a core “ecological unconscious.” So did Jung.

We have increasingly divided our consciousness from the deeper instinctive strata of the human psyche…Fortunately, we have not lost these basic instinctual strata. They remain part of the unconscious, even though they may express themselves only in the form of dream images…

Roethke and Jung show us how to awaken the inherent sense of environmental reciprocity within us. It is our task to bring our native gift for participation mystique to consciousness. One practice to support this is the poet’s path. We write our way back to our senses, to our ecological unconscious. David Abrams, the philosopher and environmentalist, author of The Spell of the Sensuous, understands, as poets do, that poetry reaches down to the carnal nature of language, to the physical ground of our being, through the way “words feel in the mouth or roll off the tongue…—the taste of a word or a phrase, the way it modulates the body…” Poetry, says Abrams, weaves together poet and listener/reader in a sensuous web of mutual experience. Poets are the makers of “wild, living…language.”

Actual, living speech is…a vocal gesticulation wherein the meaning is inseparable from the sound, the shape, and the rhythm of the words…It remains rooted in the sensual dimension of experience born of the body’s native capacity to resonate with other bodies and with the landscape as a whole.

What Abrams understands is that poetry is a kind of participation mystique. The poem, says poet Charles Olson, is “energy transferred from where the poet got it…all the way over to the reader.” Don’t forget, poetry begins with the chant of the shaman. And Owl was the shaman’s familiar.

Owl is a good familiar for an aging poet with an arthritic neck. Owl has a neck than can whirl around and see behind, above, below. Owl can see the big picture, can see other worlds. Owl vision helped with this poem, in which I wrote my way out of my grief for the house on the ridge, and into the wisdom of the ancients:

Where Coyote Brush Roams

Well they’d made up their minds to be everywhere because why not.
—W.S. Merwin

We were high on the sky when we lived on that ridge   high
on the red tailed hawk    high
on the long green rumps of the hills going yellow
while the sun did its dance from winter to summer and back   high
on our ridge after work while the fog flowed over
the darkening hills we poured red wine on the earth   high
on escape from the city’s exhaust   high
on the song of the frogs in the pond
some man had made
                                                 never mind

that the pines and the cottonwood trees
knew they didn’t belong up there     never mind
that electrical towers asserted their rights
that coyote brush said the land was its own
that the ridge wanted fire and we did not
we weed whacked    cleared    cut down those pines    never mind
that we heard their cries in the night
though they never belonged up there    never mind
that the frogs went away one day and so did we…

The ancient ones who walked these lands
who made their arrows from coyote brush
knew not to make one’s home on a ridge
for a ridge will insist on fire

            home is in a valley
            by a river among cottonwoods

We live in the valley now where once there was a river
                                        where frogs once sang in spring

                                                                                                     never mind

(This poem was published in The Book of Now: Poetry for the Rising Tide)

Yogine Riding Owl

Owl, like any good muse, is a mode of transport. Here is the South Indian version—a yogini riding her owl. She has her fingers in her mouth because she is about to emit an ear splitting shriek. Her name is “She Who Makes A Loud Noise,” rather a good name for any visionary artist riding her night visions. We all need to be making a loud noise speaking for Mother Earth, her creatures and what the ancients knew.

* * * * *

Owl invites you to a daylong writing workshop in the spirit of Owl Medicine: “Wounded Earth, Wounded Psyche,” at the Jung Institute on November 15th 2014.

* * * * *

More News from the Muse

Naomi’s paper “Self Portrait with Ghost: The Art of Lament and Redemption” with glorious photos of her grandmother’s art, taken by Ryan Bush, has just been published in the Jung Journal.

Naomi has two poems in the current issue of Ginosko, online.

The Muse of Vacation

Mural/Mosaic made with bottle caps

Why were you born voyager?
—Robert Hass

Hummingbird Medicine

Once a year for many years Dan and I have come to San Pancho, a village by the sea in Mexico, in winter, on vacation. To vacation is to vacate, to empty out—essential as an exhalation, as ebb tide and waning moon. For us it is a kind of annual Sabbath, a holy time to remember who we are and who we were.

To vacation is to let go schedules, traffic, everyday worries and rituals, to settle into a chaise lounge and listen to the ocean’s murmur and hush—our Mother Tongue, our origin. To watch Her is endlessly fascinating, Her rise and Her fall, Her great blue curl, white crash, spent swirls reaching for the beach.

To hear Her puts me in trance, in a reverie visited by hummingbird in intimate contact with pink hibiscus.

Hummingbird medicine, it is said, is all about beauty and joy, about the nectar of life, the love between plants and creatures—life-pollinating life. Hummingbird feathers will make you a love charm. Hummingbird sightings—the dazzle of tiny wings moving so fast they seem invisible, the bird hovering in mid air—return me to the realm of magic, the interpenetration of inside and outside, of earth, sky and water, of myth and fairy tale, birds and trees, stories and dream. The sound of the waves is cut by the whine of a saw cutting tiles for the house being worked on next door. There’s laughter by the pool, and somewhere, a Mexican love song on the radio.

“Look at those colors” says Dan, framing a shot with his ipad. He takes photos of beach restaurants: houses, playful details, birds, plants, flowers, spellbound by the radiance everywhere. The palette is different here. The bright green T–shirt I buy looks all wrong at home. But here it belongs to the joy of color.

The ocean is azure at the horizon, goes aquamarine with patches of turquoise until the swell breaks radiant white. Seven brown pelicans swoop down, caressing the waters. There’s a bright orange beach umbrella, intense blue of the roof of the house on the cliff that was lost in a lawsuit. A girl in a purple bikini cavorts with her lover in the surf. A dad, with his lime green boogey board, falls off it numerous times, until at last he rides a wave triumphantly to shore. His daughter laughs. Houses are painted bright shades on the beach and off.

Sometimes when we’re lucky, the night is clear, and the sky reveals its splendor—great wash of Milky Way and countless stars—a sight we city dwellers are never granted at home. We look up, hungry for the bounty and the mystery, until our necks ache. Dan finds the Pleiades. We contemplate the ancients, their intimacy with all those shifting stories in the dark.

The Ballad of Time and Mutability

One of the most beautiful rooms in my life is the great room at Casa Obelisco, our B&B, where we gather for breakfast, meet strangers, hear origin stories about the town and its people. The gracious space, with three open arches framing the ocean view, and high ceilings rising to a cupola, has a Moorish flavor, remembers Southern Spain—the Great Mosque of Cordoba. Sunburst sconces light it in the evening, and star shaped lanterns fill the chapel like dome.

Outside the cupola is covered with Moorish blue tiles. We visit it to watch the sunset from the roof. It is a beloved ritual, to watch the sun go down as people have forever. Every sundown is the same and entirely different.

Time changes on vacation, especially when you stay in one place for two weeks, a place you’ve known and loved for so long. There is a timelessness about it—we’re here, we’ve been here, the gods willing we will be here again.

The Muse of this vacation is a ballad. The chorus is repeated. Our hosts discovered this enchanted place some twenty years ago, and built themselves and us a lovely B&B. They tell this story over breakfast many mornings, when entertaining newcomers. The chorus is the great room. The town is much the same and always changing. Each stanza tells the story of some new eating–place, some gone familiar place. There’s always someone building, someone tearing down. The old hotel nearby has been razed to the ground. There are differing rumors about what will be built there next. That beach restaurant we loved at sunset—where egrets flew into the palms above us, as the light dimmed—is gone. There is a new Italian restaurant right off the plaza, near St. Francis, the town saint. We sat there listening to three old guys talking rapid Italian, shades of Venice where we spent time a few months ago. Trance music, curated by a disc jockey, goes in loops, in circles, a kind of techno ballad—magical, at once familiar and strange, of now and of forever.

San Francisco (near the beach)

Time relaxes. Takes its own sweet time. The muse craves such time—time to ponder, time to get obsessed with a poem, work it, rework it, let it talk back to you in the night and show new facets of itself come morning. Time to forget the latest spasm of outrage in U.S. politics. Time to read the novel that sat on the floor of your study at home for months. Time to write about the time you’re having in your journal, make notes for your blog. Time to sleep in, to remember your dreams, to write them down and work with them. Time to meditate on Robert Hass’ “Meditation at Lagunitas.” Hass floats the notion that “a word is elegy to what it signifies.” I muse on that. My words reflect on what I love. They’re not the thing itself, not the crash of the surf, not the hummingbird. That’s gone, on invisible wings.

For me, much of the meaning in a stay put vacation is time to engage with such loss. Hass begins his poem, “All the new thinking is about loss./In this it resembles the old thinking.” How true of living into one’s seventies, where every pleasure glimmers with its loss, its built in mutability. It’s always been so, but now it’s more so. The B&B, that great room I love, is up for sale—has been for years. One day the market forces will shift and it will be gone. Some extended family from Mexico City will make it their beloved second home. And for us it will be a shadow, a longing, an old flame. My chapbook, The Little House on Stilts Remembers is all about such losses of place. Here is the opening poem:

Her Next Life

All the houses she's loved and sold
remember her
call her by name

What will her next life be? 

In the dream she must change
clothes    stitch mirrors
red thread
on deer skin dress
                             reflect her
                                    journey    temple dancer
                                                           stone chariot
                                                  river at sunset with elephants

All the pretty houses have peeled off
                                     like snake skin

Her feet are listening 
                  Song of the earth 
                                     holds her now

[Photographs -except for hummingbird- by Dan Safran]

The Muse of Catastrophe

The Sister from Below Announces a New Series: 

The Poetry of Resistance

Hermes, Greek God of thievery, writing, roads, and more

                            

                                     The way of women     is our way   The moon swells

                                     the moon goes dark   pulling the tides    in and out

                                     The way of the trees     is our way   So raise up

                                     your branches   sisters   for we are one   gathering

                                     Soon sap   will rise   apple trees flower

                                     We’ll weave us a canopy    all over this land

                                     It will be uprising time    once again

                                                      in America

      —Naomi Ruth Lowinsky

      “Wishing in the Woods With Hillary”

The Muse of Catastrophe 

But who can resist this all–engulfing force…? Only one who is

firmly rooted not only in the outside world but also in the world within.

—C.G. Jung

Thoth, Egyptian God of Writing

In early 1933 Jung gave a lecture in Germany. He spoke of a “feeling of catastrophe” in the air. We are in such a moment in America. How do we withstand the “all–engulfing force” of chaos, hysteria, terror, and rage which rampages the land? How do we stay connected to our inner life, our deep natures when we are assaulted and over–stimulated by outrageous events and disturbing threats, haunted by ancestors who were slaves, refugees from catastrophe, stateless, disenfranchised, oppressed? Catastrophe, it turns out, can be a muse. That is what the Sister from Below whispered in my heart one day when I was feeling overwhelmed and impotent, struggling to find my mode of resistance. She said: “You’re a poet. You know many fine poets. Do what poets do. Use your blog to post resistance poetry. In times of catastrophe, the people need poetry.

But, you may ask, as did the poet H.D., “What good are your scribblings?” H.D. answers herself, in her great poem written during the catastrophe of the London blitz, “The Walls Do Not Fall:”

this—we take them with us

beyond death; Mercury, Hermes, Thoth
invented the script, letters, palette;

the indicated flute or lyre–notes
on papyrus or parchment

are magic, indelibly stamped
on the atmosphere somewhere,

forever; remember, O Sword,
you are the younger brother, the latter–bon,

your triumph, however exultant,
must one day be over,

in the beginning
was the Word.

H.D. is claiming the power of the Word over that of the Sword, the power of Creation over that of Destruction. And yet we know she wrote this during wartime, when all she held sacred was threatened and her city was in ruins. When our souls are battered, our hearts broken, is often the time when we open to the deep river flow of poetry, when we find words to “translate the dry rattle of the newscast into image and myth. Poetry says the unsayable, bears the unbearable, speaks for the voiceless, transports us into the spirit realm, the ancestor’s lodge, ushers us, in Jung’s words, through the “small and hidden door that leads inward.”

A Poem by Daniel Polikoff
The first Poem of Resistance came to me by synchronicity. It was during the recent storms which caused flooding, mudslides and other disruptions in Northern California. The national news was disturbing, causing political storms and public displays of resistance all over the country. At the time I was in dialogue with the Sister from Below, about catastrophe as muse, about poetry as medicine for the soul, about devoting my blog, for the duration, to Poems of Resistance, when a beautiful poem showed up in my e-mail, by Daniel Polikoff. I knew when I read it that I wanted it to open this series.

The weather and the news remind us of Biblical stories of catastrophe as an expression of God's wrath. This is where Polikoff goes in his poem, only his focus is on a "heavenly mother...weeping/for her lost children." The poem's speaker voices our grief and disorientation, and names our collective shadow, for we have "gone forth and built/sky-scratching cities," and we have "forgotten/her name." This is the voice of the prophets--those ancient poets of resistance.

Weeping Icon

Flood
February 7, 2017

Rain floods the streets and overflows
river banks and inlet sluices,
pours from the water-bearing sky
as if a heavenly mother were weeping

for her lost children. The puddle on the red-
brick patio; the streams that run
down the twin cheeks of Spring Drive;
the spreading lake that drowns the footpath—

tears, all tears. For she who bears us
endlessly in her heart
is weeping, weeping endlessly
over her children, the numberless

ones who no longer know her,
all the children who have forgotten
her name. They have gone forth
without regard; gone forth and built

sky-scratching cities; gone forth
and closed their doors against her,
locked their gates and bolted the chambers
of their steel domes. She has come

often to those proud towers; come
and rattled the gate-chains; come
and wrapped upon the heavy doors
of their bronze hearts. But they

do not choose to hear her soft
or loud alarms; dumb and unmoved,
they stand upon their feet of clay,
statues in the hall of a putrid king.

And so the widespread waters of pain,
the tears of grief and of mourning
pour from the sockets of heaven, pour
ceaselessly down, as once did

the flood that drowned the earth—
for the wrath of the Father
and the Mother's deep sorrow
will not part like ancient seas.

Daniel Joseph Polikoff is a poet and internationally recognized Rilke scholar. The most recent of his six books are Rue Rilke (a creative non-fiction account of his initiatory Rilke pilgrimage) and a new translation of Rilke's Sonnets to Orpheus. Daniel lives with his wife and family in Mill Valley, and will be teaching a course at Pacifica Graduate Institute this spring. For more information see danielpolikoff.com

"Tower of Babel" by Lucas van Valckenborch

Announcement 

Naomi Ruth Lowinsky will be a speaker, along with Steven Nouriani and Carolyn Bray on The Role of the Divine Feminine in the Transformation of Consciousness. The program will take place on March 18th at the SF Jung Institute, 9:30 -1:30. We need Her right about now. Please join us.

[https://www.eventbrite.com/e/the-role-of-the-divine-feminine-in-the-transformation-of-consciousness-tickets-26502497684]

The Muse of a Younger Self

How Do I Get Back to You?

The Faust Woman Poems are about to come out. I have held the advance copy in my hands and mused about the wistful tug from my younger self that was one of many inspirations for this collection. She wants to be heard. Or maybe it’s that my aging body and soul need her voice, her “river glitter,” her “marijuana music” and “Kama Sutra dances” to sweeten and deepen my sense of my own life and that of my generation. Here is a poem I wrote for her:

In Memory’s Pan

You are river glitter
You with the long wavy hair
You with the questions

Once you saw molecules flow
    in a tree branch
Sat on a river rock
    in that old blue skirt

(Someone outside you was watching)

Now salmon have trouble leaping
Oak trees send their dead

                        downstream

I have woven marijuana music
  Kama Sutra dances
All the colors of fire
  into a shawl to wrap us both

  My pretty one
  O my fleeting one

How do I get back to you?
                     The Faust Woman Poems

Just as the final details for the book were being completed I got to see her again, or one much like her. She showed up in an Antonioni movie I’d never seen before—Zabriskie Point.