It is of little surprise that we find
this a dizzying world, for we always
try to look forward, but since the future
is often vague, we try and keep one eye
on the past to understand what
our other eye is poorly seeing.
The mind does not care to be
pulled in two directions at once,
objects with stabbing pains, and
when that fails to correct us,
a weariness we cannot overcome.
The Buddha would tell you
it is best to keep both eyes
in the present, to focus softly
and see what is there without
judgement or preconception, to simply
be, assured that all senses are
merely crude tools to shape what
is amorphous into something we
can grasp and file, but time itself knows
there is nothing more than now, ever.
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Awakening in the morning
when you first see the sun
and the dew resting on the leaf
which eye are you using.
When you stare into the mirror
through what eye do you see,
and what eyes stare back at you.
When you see the deer
lying in the road
which eye do you use.
In a nightmare, when you slip
into the deeper, darker world,
what eye is used then.
When you fade into death
what eye sees your departure.
Think carefully on this
for only one eye can see
the answer lying within.
A reflection on case 67 of the Iron Flute Koans
We can sit for a time, and speak
of our pains, how they cause us
to stop and look inward while the world
proceeds on it’s axis, in a slow march
through time and space, and we
share the anger and anguish
of our too fallible bodies which
time reclaims in slow progression.
We do not pause and cast eyes
on the egrets, heron and ibis returning
for the night as the retreating sun
paints the clouds in colors known
best to flames consuming all,
to wings flapping as perches are
taken adjusted, as conversations
are continued while night settles
slowly over the preserve, the birds
marvel at how we allow ourselves
to be absent from the simple
beauty of the world that surrounds us.
You must be home now,
or somewhere you can answer
my call, and the busy signal
or disembodied voice, purporting
to be you can only mean that this
very moment if you are calling me
the busy signal or disembodied voice
purporting to be me is giving you
a momentary frustration rivaling my own.
This must be the state of the world
for otherwise you failure to answer
could mean but one thing, and I
can no more accept the preposterous idea
that you might actually be speaking
to someone else rather than awaiting
my call with bated breath, and
certainly not that you are sleeping,
your phone switched off, never mind
that where you are, it is well past midnight.
Words have geographic homes
and here old favorites seem
ill at ease, fitting poorly into thoughts
that demand their presence.
I use them regardless, but we both
know that they will hide their shadings,
but in a world where words
are the last option, we both know
that I have no alternative
but to turn to them, to wheedle,
to cajole, and ultimately to submit
to whatever they will allow me.
After all, the alternative
his silence, and for a writer,
that is death by a single cut.
You never read
the ultimate autobiography
which doesn’t exist unless
you live in an Oulipian world.
You can write up to the moment
Of your death, and we would,
if begrudgingly, conceded
the last moments incompleteness,
but you cannot write a true
and complete autobiography
without falling into the recursive abyss
where everything that you say
is suddenly autological
and the reader collapses in
on himself, a literary blackhole.
It looks perfectly normal, the kind
of restaurant you would seek out
on a Friday night in a distant city.
The people look like those you know
or could know, those from home for instance.
She is not remarkable, blonde, older,
a slightly twisted smile, blue eyes,
but on meeting there is a sudden distance
as though this is not a normal world,
certainly not the world where
you first met a cousin, and you have
a nagging feeling, which grows during the meal
that one of you is an alien, an avatar
from some other world, parallel perhaps,
and this reality is anything but, although
the pennette is quite remarkable.
Would you meet your first true relative at age 62
you know that while blood may be thicker than water,
it also congeals just as easily.
He knew he should not have brought the gun. He hated guns,
they served no purpose in his world of words. He wanted to
look at it, to stare at it, really. He thought that if he did so
he might be better able to write about the senselessness
of the world in which he lived, a world he so very much wanted to
change. He had the gun. He knew what he had to do. He
shot a hole in the forehead of the picture of Anton Chekhov
that hung on the wall over his desk.
There was a time not all that long ago,
he reminds me, when the event of an eclipse
was a certain sign the world was ending.
Prayers were offered in profusion, and
the event proceeded and passed, so faith
in prayer was restored, if not in astronomy.
Today eclipses are viewed as just other
celestial events, like meteor showers
and solar flares, something to see,
something to experience, but always
with the knowledge that tomorrow
will always be right around the corner.
But the eclipse of our freedoms
is something we have never seen,
and many now believe the world
is ending, but we should, he says,
realize that like the slow passage
of the earth across the face of the moon,
we will emerge into the light again
in due time, our prayers having been answered.
He sits on the cushion
staring through hooded eyes
at the wall in front of him.
He expects exactly nothing to happen,
expects there to be no sound
within his mind, only what
happens without, expects that time
will cease for him, or
will at least cease to matter.
He is not disappointed.
The bell rings, he arises,
and walks back into the world
where everything happens,
there is only sound, and
he stares at his watch knowing
time has moved on in ways
he can never hope to fully grasp.