I enjoy listening to songwriters talk about their creative process—how they approach the task of writing a song, the kind of strategies they use.
How Don Henley writes his songs
I recently watched a 92nd Street Y interview posted on YouTube in 2015. American Rock royalty Billy Joel and Eagles drummer and singer-songwriter Don Henley covered a lot of ground in 85 minutes. One of the things Joel asked Henley about was what does he do to get himself into the space where he can write songs.
Don tells Billy how he may hole up in a cabin, or somewhere where he won’t be disturbed, and shuts out all electronic distractions. He also says he doesn’t just sit there and write; he can’t force the words to come. He says he follows the zen-like advice to do a simple task first.
He tells the audience, “I’m dead serious. I’ve written some of my best stuff loading and unloading the dishwasher! Because you’re distracted and yet you’re not. I don’t know how to explain the thing. But I’ve read about the zen masters saying the same thing—if you can just do a menial task instead of sitting there with a pen and paper, in front of you going, (he clenches his fists and grunts).” The embedded video may play from the beginning, but that part of the discussion starts at 57:14.
How Lissie writes her songs
That reminds me of the exact same thing Lissie said in The A-Sides Interview. She discusses how she is learning to balance art with commerce, and spontaneity with structure. Describing her creative process she usually comes up with a melody, sometimes working with other musicians, then later writes the lyrics alone.
When writing lyrics, she’s “careful to not force it” and is always surprised when rhyming phrases pop into her head “when washing the dishes, not focusing hard on the lyrics.” That’s when she’s presented with newer better word choices she hadn’t thought of.
She emphasizes finding a balance: “being spontaneous, yet structured.” The embedded video may play from the beginning, but that part of the interview starts at 4:58.
How Colin Hay writes his songs
Another singer-songwriter I had discovered and recently wrote about is Colin Hay. When it comes to writing songs he says he likes to have as empty a mind as possible and puts himself in a space where he won’t be interrupted. He emphasizes that time is important, to give himself enough time to fail. He describes a scene where he’s all alone for 3 or 4 hours without any distractions, just sitting with his acoustic guitar doing nothing, just idling, coming up with musical ideas.
At other times, a friend may drop by and mention something in passing that will act as a catalyst to what he’s been thinking about. It triggers the melody, and then the words spontaneously come out in one take. In those cases he’ll quickly finish a song in under an hour. That’s how he wrote Waiting for my Real Life to Begin.
He explains all this in a 2011 CNN interview with Brooke Baldwin when she asks him where he was when he wrote that song, then quotes some of the lyrics to him. The embedded video may play from the beginning, but that part of the interview starts at 3:52.
TM, creativity, and the default mode network
Our minds are usually working on a particular problem, consciously and unconsciously. I’ve had the same thing happen to me when I’m writing a poem or a blog post and reach an impasse. I give up, let it go, and, surprisingly, the right solution later presents itself when I least expect it.
Science calls that place in our brains the default mode network (DMN), a.k.a. the imagination network or genius lounge. It’s activated when the mind is daydreaming, not engaged or concentrating on anything, just “idling” as Colin Hay put it. The key is to be easy. Focusing or “forcing it” turns it off.
Interestingly, the DMN is also activated during the effortless practice of the Transcendental Meditation technique as practitioners experience a state of “restful alertness.” Sometimes great ideas may show up during, but more likely after TM, what David Lynch calls, “Catching the Big Fish.” He often tells students, “TM is a boon for the filmmaker.” It facilitates access to one’s inner resources to create and think out of the box.
Jon Bon Jovi says washing dishes brings on hit songs
Addendum: Jon Bon Jovi, who loves TM, shared the same experience as Don Henley and Lissie on Monday night’s Late Show with Stephen Colbert when they discussed the events that influenced his new album, Bon Jovi 2020. Bon Jovi told Colbert how the song Do What You Can came about when he was washing dishes in one of their JBJ Soul Kitchens during the COVID-19 pandemic. “Washing dishes brings on hit songs, Stephen.”
“A few are as permanent as love is old.” Wise words from this young poet! They ring true; go deep. Some of us may be blessed to have such people in our lives. Maybe we are that person for someone. Either way, it’s a blessing.
I was lucky to have been in a committed relationship with a special lady in my life, and was there for her, right up to her last breath, and beyond. Even though she passed away four years ago tonight (Oct 1, 2016), the love remains.
The perception of time is strange. Memories of certain events remain with us long after they’ve gone. They become part of our story. I still remember a unique experience I had over 20 years ago. I found the poem I had written about it trying to understand what was happening at that time. But first, a backgrounder on what led up to it.
Saturn (Shani) was exerting its influence during an Antardasha, or sub-period. I was also in the last third of a 7.5 years-long period of Shani influencing my Moon (Chandra), which governs the mind and emotions. It is a challenging time known as Sade-Sati in eastern astrology. We go through this transit at least once or twice during our lifetime. The texts say that “persons under this influence are betrayed in their financial, personal, social and marital matters.” I often recalled what Nietzsche said about life’s suffering: “That which does not kill us, makes us stronger.”
My life wasn’t that bad, yet I had been been under a lot of different pressures going nowhere. I was given the opportunity to join the Maharishi Purusha Program. It was something I had thought about, but life’s decisions had taken me in other directions. I reconsidered my current situation and decided to give it a try.
At one point the Maharishi Jyotish office offered astrology readings and recommended remedies for what might be coming down the proverbial karmic pipeline. This was something I had always wanted to do but could never afford. Since I was on this special program for single men, the cost for the reading and remedy was more within reach. The main recommendation was to have a double level Maharishi Yagya done for both Shani influences. I decided to go for it, not knowing what to expect.
While an ancient Vedic performance was being conducted in India, I was feeling something in North Carolina! The experience was abstract, yet so real! The only way I could make any sense of it was to put it into words. This poem came out and surprisingly defined the moment for me.
Awake Before The Dawn
Another sun has risen this morning not one of light but of wakefulness
I find myself strangely silent inside not feeling anything but lightness
So this is what it’s like to be alive awake at last to the Dawning of Eternity
Written on Saturday, July 10, 1999 In honor of my Shani Yagya Ken Chawkin, SCA, Boone, NC
Aside from what Nietzsche said, having that Yagya and being on Purusha helped lighten the karmic load considerably!! Eleven months later I volunteered for a project and found myself in the exotic land of Indonesia. An unusual experience greeted me there early one morning. I woke myself up to write down this Indonesian Mystery Poem.
Interestingly, during that year abroad, I would spend time in 5 different countries: Indonesia, Singapore, Malaysia, India, and Australia. I later discovered that when I left Boone to travel to Jakarta, Jupiter (Guru) had started a 13-month transit across my 12th house, which indicated a loss of homeland. Amazing how this all works!
I’m currently undergoing a Maharishi Yagya for an upcoming major Mars period, Mangal Mahadasha. It brought up memories from that time at the Spiritual Center of America where I wrote this poem and the journey that would later unfold. Another incredible story that would take volumes!
I first discovered this great Canadian aboriginal writer on a blog I follow. I looked into the book she quoted from, Embers: One Ojibway’s Meditations by Richard Wagamese, and bought it based on this first entry I read in Chapter I: STILLNESS.
I AM MY silence. I am not the busyness of my thoughts or the daily rhythm of my actions. I am not the stuff that constitutes my world. I am not my talk. I am not my actions. I am my silence. I am the consciousness that perceives all these things. When I go to my consciousness, to that great pool of silence that observes the intricacies of my life, I am aware that I am me. I take a little time each day to sit in silence so that I can move outward in balance into the great clamour of living.
These two entries in Chapter II: HARMONY are equally profound. This first one, about the relationship between the soul and the body, reminds me of what the Sufi mystics said about the body and the universe, the microcosm and the macrocosm.
I USED TO believe my body contained my soul. That was fine for a while. But when I started thinking about oneness with Creator, I came to believe that it’s the other way around. My soul contains my body. It is everything that I am. I am never separate from Creator except within my mind. That’s the ultimate truth, and I need to be reminded, to learn again, to learn anew in order to get it. When I do, I know the truth of what my people say: that we are all spirit, we are all energy, joined to everything that is everywhere, all things coming true together.
Interestingly, when the mind forgets this oneness, loses its connection to inner wholeness, the result is what Maharishi calls Pragyāparādha, the mistake of the intellect, which identifies with a changing limited reality instead of our unbounded inner Self. This identification with the world and loss of memory of the Self is the root cause of all of our suffering, the difference between bondage and liberation.
The other entry, about coming under the influence of the muse, reminds me of William Stafford, another poet who would also get up early every morning to write before sunrise. Although similar in theme, but not as profound, his poem, When I Met My Muse, is more lighthearted.
WHEN THE MUSE is full upon you, you move to the chair at your desk as if entranced, and in that ghostly glow against the full dark before sunrise, story becomes a shape-shifter, a presence that cajoles you, tempts you, coaxes words to eke out onto the page, creating worlds and people from the fire deep within you so that this alchemy of creation becomes transcendent, making time lose all its properties. There is just you and the universe and this creative fire moving through your fingers in bold palettes of colour chasing the dark away until you emerge in the sure, calm light of morning and feel like a writer again.
I discovered a similar transcendent experience described by Canadian Realist Painter Sarah McKendry as she paints through the night until sunrise. See my comment and her quote below in the Responses section.
Discovering Richard Wagamese the Storyteller
Richard Wagamese (October 14, 1955 – March 10, 2017) was an internationally renowned, award-winning author, newspaper columnist and reporter who had also worked in radio and television. In this CBC interview, Candy Palmater asks Richard how a library helped him become a writer. As a destitute, homeless teenager, he walked into a building for warmth and noticed it was filled with silence and many books. He didn’t know where he was. A kind librarian brought him some food and showed him how to find what he was interested in. Richard had only a grade 9 education and devoured books on a wide range of topics. He taught himself how to become a writer and would copy sentences by hand of the great authors who moved him just to see what it felt like. He tells Candy the role he played in the making of the film based on his book.
Indian Horse, the novel and the film
I had just watched an emotionally-charged film on Netflix called Indian Horse. I checked and found out that the film was based on the award-winning novel Indian Horse written by this same Ojibway author! Clint Eastwood was the executive producer. It tells the tragic, yet hopeful and redemptive story of the main character, Saul Indian Horse. Events unfold during a dark era in Canadian history, when young native Indians were separated from their families (including Wagamese’s parents), and sent to notorious Catholic Residential Schools where they were forced to not speak their language or practice their culture. The nuns and priests tried to “scrape the Indian out of them” violently molding them into Christians, traumatizing them for life.
Despite this, Saul finds salvation in the unlikeliest of places and the most favorite of Canadian pastimes — hockey. Fascinated by the game, he secretly teaches himself how to play, and develops a unique and rare skill. Saul’s talent leads him away from the misery of the Residential School to a Northern Ontario Indigenous league and eventually to the pros – but the terrors of Saul’s past seem to follow him.
Wagamese suffered from second-generational trauma, abused drugs and alcohol, was homeless and landed in prison many times. He would eventually be diagnosed with PTSD, which gave him a better understanding of his helpless situation, and finally sought treatment.
A wise tribal Elder told him his role in life was to become a storyteller. Writing would become a healing redemptive practice for him. Surprisingly, many of his readers felt seen, understood. His stories helped them too in their healing journey, fulfilling his destiny.
People who knew Wagamese said he was the creator, parent and protector of stories. Host of CBC Radio’s The Next Chapter and chancellor of the University of Victoria, Shelagh Rogers said of her longtime friend, “Richard really believed everybody had a story.” Listen to Shelagh Rogers’ tribute to Richard Wagamese, a great man who passed away unexpectedly and too soon at the age of 61.
The nature of a writer‘s life
As a writer, Richard Wagamese would win many prestigious awards. On November 3, 2015 in Toronto, the Writers Trust of Canada honored him with the 2015 Matt Cohen Award: In Celebration of a Writing Life. In his humble, at times emotional acceptance speech, he beautifully described his early morning rituals followed by sitting for a while in the candle-lit darkness, thinking about what it is that he is about to do, “and you ask for as much guidance and strength from The Creator as possible.” He heads down the hall to a place where he will sit for hours at his computer. “And you sit there and you breathe and you hope and you dream and you close your eyes, and you feel the essence of that gift radiating inside you. And you put your fingers on that keyboard and watch while they emerge out upon the screen.”
I love this part of his speech: “And you wait for that time when you know that that perfect sentence has just occurred. And there‘s a gladdening in your spirit when that happens, and you seek to write another one, just like it, to follow it across the page. And in my experience, that‘s the nature of a writer‘s life. That immaculate sense of solitude, when there‘s just you and the language and the air and the universe and that gift that The Creator downloaded you with free-of-charge…. “
Richard Wagamese 2015 Matt Cohen Award speech
And in my experience, that‘s the nature of a writer‘s life. That immaculate sense of solitude, when there‘s just you and the language and the air and the universe and that gift that The Creator downloaded you with free-of-charge.
Writing for the story’s sake and not your own
In this talk at the University of British Columbia (Nov 27, 2013) on his book tour for Indian Horse, author Wagamese gives some valuable advice for young writers. His years of experience honing his craft as a journalist and a writer for radio and television prepared him to become a successful novelist and poet. “In that way of writing you learn how to be sharp, simple and concise, and learn how to trim the fat from every sentence, and you learn how to say exactly what you mean and to mean what you say.” He emphasized “that conciseness and that brevity that results in perfect clarity really served this novel well.”
He goes on to explain that it wasn’t necessary to be overly dramatic or poetic in his prose. “You harness that, you reign that back in and you learn to work for the story itself. And if there’s any aspiring or perspiring writers in the room, that’s the biggest advice I can give you, that if you work for the story’s sake all the time it will spare you the anxiety and the inner debate about how much you should write or in what way you should write it because you’re writing for the story’s sake and not your own. And again that particular rule served me well in the writing of Indian Horse.”
In a July 4, 2014 Globe and Mail article, we learn where he got that advice from: Q: What’s the best advice you’ve ever received? A:Norval Morrisseau once told me to “work for the story’s sake” and that is the best advice I’ve ever received. When I work for the story’s sake I leave my ego at the door and the energy of the story emerges without my interference. It’s why Indian Horse and Medicine Walk ring so resonant with people – because me and my ego are not in the way of the story pouring outward.
Embrace everything and write what you don’t know
A year later (Nov 18, 2014), Richard Wagamese was invited to read from the MacEwan Book of the Year 2013/14, Indian Horse. It included an on-stage interview with author Richard Van Camp. He read from Indian Horse, answered good questions from the audience, and concluded with a reading from his new book Medicine Walk, a story about a reconciliation between an absent father and his son, something Wagamese had been grappling with in his own life. MacEwan University posted this inspiring event on YouTube.
He offered good advice to hopeful writers and shared his process, how when he goes on long walks, he connects with the land, and thinks about ideas that get triggered. He says them out loud to himself as he develops a story until it’s clearer to him, then returns home to type it up on his computer, offline to avoid distractions. He told them to be open to anything as it could trigger a story. They should open themselves up to and embrace everything as it would impact their writing and keep their readers engaged.
He also touched on the notion that “some courses and programs tell you to write what you know.” I found his take on that advice revealing: “But it’s come to me over the course of the last few books, that if I write what I don’t know, then the process of me discovering the answers to what I don’t know makes the journey of following the story in the book stronger for the reader, because we both get to find the answer together.” (These great writers said the exact same thing.)
But it’s come to me over the course of the last few books, that if I write what I don’t know, then the process of me discovering the answers to what I don’t know makes the journey of following the story in the book stronger for the reader, because we both get to find the answer together.
This final question was very interesting, one that he “was not often asked.” He gave a surprising and impressive answer. He shared how his 16 months of yoga and meditation practice, along with a change in diet had improved his life physically, emotionally, and spiritually. On all these levels, yoga was “informing my sense of myself.” It brought a peace and a quietness within the process “that I’ve been waiting for all my life.” Answering her question specifically he explained, “and so when I turn to the act of writing, I bring that same sense of holism into the process of writing.” He then described the kind of improvements he experienced in his skill as a writer, attributing them to that influence, which, he concluded, created “a big leap forward” that showed up in his new book, Medicine Walk. (A good question that elicited a great answer!)
Learning to become a better person
In her informative and heartfelt obituary (March 24, 2017, updated May 16, 2018): Ojibway author Richard Wagamese found salvation in stories, Globe and Mail journalist Marsha Lederman wrote that “his last book, Embers: One Ojibway’s Meditations, came out of Mr. Wagamese’s daily Facebook posts. They had a devoted following and Douglas and McIntyre head Howard White proposed publishing them as a collection. On March 7, Embers was nominated for a BC Book Award. Two nights later, Mr. Wagamese went to sleep and didn’t wake up.”
The book actually did win the 2017 Bill Duthie Booksellers’ Choice Award. This is the conclusion to her article: In one of Mr. Wagamese’s final Facebook meditations, posted in November, he wrote about starting his day with candlelight, tea and meditation, and what the years had taught him. “Actions born of contemplation are wiser than those made in quiet desperation. If all that’s true, and I feel it is, then I have grown some in these 61 years. I have learned and become a better person. And from that maybe it’s the years ahead that will be the richest of my life. A quiet man moving forward, gladly beyond all expectation.”
Two new posthumously published books by Richard Wagamese
CBC Books posted news of two new posthumously published books by Richard Wagamese: the unfinished novel Starlight (Mar 01, 2018) and One Drum (Nov 06, 2019). This latest book review also includes 3 earlier CBC Radio interviews, 2 of which are referenced in this blog post. You can Read an excerpt from Richard Wagamese’s final book, One Drum.
I’ll admit my ignorance here. All I remember of Erica Jong was her early 70’s infamous best-selling novel, Fear of Flying. I had no idea that she had become such a prolific award-winning writer. Besides being a famous author, she is also a fine poet. She says, “The poetry is the source of absolutely everything I do.” I discovered some of her impressive poems looking inside Becoming Light: New and Selected Poems, and on poetry websites PoemHunter and Poeticous.
Filled with life and passion, Jong uses breath, air, wind, “prana whistling in the dark;” and fire, “a flame in the heart,” “a living lantern,” as imaginary ways to describe the creative forces within the heart of a poet. They are beautifully expressed in these 3 poems: Alphabet Poem: To the Letter I, Poem to Kabir, and Zen & the Art of Poetry. There may be other poems with these motifs I have yet to discover, but these caught my attention for their shared imagery and theme of being a poet, a writer.
Alphabet Poem: To the Letter I (12th/last stanza, 3rd poem in Becoming Light)
We are all one poet
and always
we have one
communal name,
god's name, nameless,
a flame in the heart,
a breath,
a gust of air,
prana whistling in the dark.
i dies—
but the breath
lingers on
through the medium
of the magic
alphabet
and in its wake
death is no more
than metaphor.
Poem to Kabir
Kabir says
the breath inside the breath
is God
& I say to Kabir
you are the breath inside that breath
which is not to say
that the poet is God–
but only that God
uses the poet
as the wind
uses
a sail.
Zen & the Art of Poetry
Letting the mind go,
letting the pen, the breath,
the movement of images in & out
of the mouth
go calm, go rhythmic
as the rise & fall of waves,
as one sits in the lotus position
over the world,
holding the pen so lightly
that it scarcely stains the page,
holding the breath
in the glowing cage of the ribs,
until the heart
is only a living lantern
fueled by breath,
& the pen writes
what the heart wills
& the whole world goes out,
goes black,
but for the hard, clear stars
below.
In the last section of What You Need to Be a Writer, Jong comes clean, listing her fears, then describes what it really takes to be a writer — having something to say so intensely, that it “burns like a coal in your gut…pounds like a pump in your groin,” and concludes with having “the courage to love like a wound that never heals.” Ah, the human condition.
& then there’s all
I did not
say:
to be
a writer
what you need
is
something
to say:
something
that burns
like a hot coal
in your gut
something
that pounds
like a pump
in your groin
& the courage
to love
like a wound
that never
heals.
In a Mother’s Day Playboy interview last year, the first question daughter and writer Molly Jong-Fast asks her mother is how she knows things, especially what’s happening to women in the socio-political arena. Jong answers: “I think a writer is someone who lives like a wound that never heals. And if you’re a writer, you feel the rumblings in the air.” It’s interesting how she uses the same metaphor for a writer to love or live like “a wound that never heals.” How she’s been bravely living her life.
“Life creates art while art changes life.” – Xuan Loc Xuan
Xuân Lộc Xuân was born in Vietnam. Her name means “Spring.” She lives and works in Ho Chi Minh City, Vietnam. Xuan Loc Xuan studied Fine Arts at HCM University, the biggest art school in the south of Vietnam. She’s been working as a freelance illustrator for several years. She uses traditional and digital tools to draw. Her designs tend to be minimalistic and the use of color is a main factor in her artworks. For her, “life creates art while art changes life.”
Independent journalist & editor of The Floating Magazine/TFM Studio, Payal Khandelwal interviewed Xuan via email. She introduces her: Xuan Loc Xuan dresses up melancholy in vibrant colors in most of her artworks, and the results are breathtaking. Having grown up as an introvert child in a large family, Xuan always felt an inherent sense of loneliness and sadness. And the essence of those feelings drips down into most of her work. Her subjects are always shying away from the audience. They are either glancing sideways or have their back to the world, and are always lost in their own thoughts. Most of Xuan’s work also has a very ethereal feel to it. Read the interview: People: Xuan Loc Xuan.
This is a magical, mystical image. I love the various shades of green in the picture, their textures, especially the girl’s dress, the different colored flowers. She appears contemplative, in her own world. This work holds an otherworldly, timeless silence. I found a companion piece, Water Lily, of a boy sleeping among the same water lilies, or lotuses.
Lily could be the girl’s name and/or the lilies, but these are lotuses. Their larger pads and flowers rise high above the water, whereas most water lilies, pads and flowers, float on the water, with some flowers rising a few inches above it. Maybe the word means the same for both in their language, but these are different species.
I learned that distinction over three decades ago in the fall, when a friend and I encountered many tall, large lotus pads and pods at the second Round Prairie Park pond in Fairfield, Iowa. There had been a drought that summer, and many stood high above the lowered water level. She began sketching them, and I attempted to write about the process in a poem as an observer. After several attempts, I gave up, switched perspectives, and surprisingly, the poem wrote itself; we had become the observed! You can read the poem and more about what happened afterwards in Ode to the Artist Sketching Lotus Pads at Round Prairie Park.
I submitted the poem to a poetry competition at Sparrowgrass Poetry Forum and forgot about it. Much to my surprise, on a very special day, I found out by Registered Mail that I had won their Distinguished Poet Award, which included a $100 check! They mailed the plaque separately, published the poem, and sent me a copy of Treasured Poems of America, their anthology, which contained my award-winning poem.
The editor requested a follow-up poem. The only thing I could write about was that mysterious, creative interaction that took place between us and the lotuses. He published Sometimes Poetry Happens in their next issue. Those experiences gave me the confidence to keep writing, and a flood of poems continued to flow from me, for which I was very thankful.
I like Walking Lily so much I ordered a large print of it to hang in my entrance way on the wall above the small antique green cabinet. I was given a 20% discount on my first order and free shipping, a nice surprise!
Good homonym! This is so vibrant, like a beating heart! Can you feel it?
Hope you all enjoyed a Happy Valentine’s Day. Whether you were with someone or by yourself, Love Is Love. I emailed most of this content below for Valentine’s Day and decided to post it afterwards with some additions.
For those sharing love, [i carry your heart with me(i carry it in] by E.E. Cummings is a most beautiful poem about the intimate unity of the lover and the beloved within his heart.
When it comes to art, one artist stands out for me—Marc Chagall. The love for his wife is expressed in his art; his art expresses love in color. He says, “In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of LOVE.”
In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of LOVE. — Marc Chagall
These images are from those films: closeups from an early painting of Chagall’s then fiancée Bella Rosenfeld; of Bella and Marc Chagall in Les Amoureux [Lovers] (1928); and in L’Anniversaire [The Birthday] (1915).
Closeup of Bella Rosenfeld, Marc Chagall’s fiancéeTop section of Les Amoureux (1928) L’Anniversaire (1915)
The Chagall documentary ends with these words about the poet-artist: “He has painted the unity of the universe in all things. His song of songs is really a song of love, like a bouquet of flowers. Marc Chagall’s light, his message, his life, has been a gift to us all.”
May Love Always Be—within and among us expressed in poetry and art.
In our efforts to fluently express ourselves, writing, primarily, is a process of self-discovery. Burghild Nina Holzer says journal writing allows us to discover who we are and what we have to say.
Talking to paper is talking to the divine. Paper is infinitely patient. Each time you scratch on it, you trace part of yourself, and thus part of the world, and thus part of the grammar of the universe. It is a huge language, but each of us tracks his or her particular understanding of it.
WHO ARE YOU?, a poem in the film, Words and Pictures, invites us to write and discover who we are. There’s a fascinating story behind it.
In the words of Donald Hall, “Writing is the process of using language to discover meaning in experience and to communicate it.”
A good writer uses words to discover, and to bring that discovery to other people. He rewrites so that his prose is a pleasure that carries knowledge with it. That pleasure-carrying knowledge comes from self-understanding, and creates understanding in the minds of other people.
Author, visual artist, and TM teacher Donna Warwick posts digital paintings on her Instagram as @artsfusionist. She created this painting that expresses the effortless mysterious process of creation. The Absolute becoming Relative. BEing BEcoming. To me it looks like the moment of conception, and also the sprouting of a seed idea. Either way, it’s creation. It inspired me to write this haiku, then extend it to a tanka. Read Donna’s description below.
Effortless Creation
Inspired by a painting by Donna Warwick
I AM THAT I AM I AM ONE — Become Many BEING Becoming
I AM therefore I Create An Idea of My Self
®Ken Chawkin Nov. 29, 2019
Donna added this description for Thanksgiving Day: Thought and Action: It is the frictionless flow between thought and action that produces effortless achievement in life. One feels the profound connection between the source of thought and the fulfillment of the action. The sweetest thing is that the result of this is the bliss of experiencing something greater than our small selves. For the true source of all success is not the ego. Nor is it the wide assortment of details about one’s personality/individuality. That is why the experience of unity with unbounded pure consciousness is so fulfilling. Consciousness is that which is shared by all. For me, that experience is one of the natural results of my practice of the Transcendental Meditation technique. On this Thanksgiving I feel waves of gratitude to my TM teacher.
Mary Oliver’s poem, Messenger, was written in her own unique voice, but it must have been influenced by her favorite American poet, Walt Whitman. It’s a perfect poem to share for Thanksgiving, since her poetry is a thanksgiving for being alive in the world, appreciating every living thing in it, and singing their praises. “My work is loving the world…mostly standing still and learning to be astonished…which is mostly rejoicing…which is gratitude…a mouth with which to give shouts of joy.”
My work is loving the world. Here the sunflowers, there the hummingbird— equal seekers of sweetness. Here the quickening yeast; there the blue plums. Here the clam deep in the speckled sand.
Are my boots old? Is my coat torn? Am I no longer young, and still half-perfect? Let me keep my mind on what matters, which is my work,
which is mostly standing still and learning to be astonished. The phoebe, the delphinium. The sheep in the pasture, and the pasture. Which is mostly rejoicing, since all the ingredients are here,
which is gratitude, to be given a mind and a heart and these body-clothes, a mouth with which to give shouts of joy to the moth and the wren, to the sleepy dug-up clam, telling them all, over and over, how it is that we live forever.
You can read more about Mary Oliver and her astonishing poetry in this memorial acknowledgment of her poetic legacy to us.
Here is an added footnote: “Attention is the beginning of devotion.”
I remember Maharishi telling us whatever we put our attention on will grow stronger in our life. The cornerstone to Mary Oliver’s appreciation of and love for the natural world around her was the power of her attention. She was awake to everything and was always astonished. Her sustained empathic attention to the land and its inhabitants inspired devotional poetry. In this interview, On Being’s Krista Tippett asks Mary Oliver about the role of attention in her work.
Ms. Tippett: I’d like to talk about attention, which is another real theme that runs through your work, both the word and the practice. I know people associate you with that word. But I was interested to read that you began to learn that attention without feeling is only a report. That there is more to attention than for it to matter in the way you want it to matter. Say something about that learning.
Ms. Oliver: You need empathy with it rather than just reporting. Reporting is for field guides. And they’re great. They’re helpful. But that’s what they are. They’re not thought provokers. They don’t go anywhere. And I say somewhere that attention is the beginning of devotion, which I do believe. But that’s it. A lot of these things are said but can’t be explained.
