One day I walked on the mountain and the flute song went through me. That’s all. I became the reed and the wind went through and I wrote it down in my journal.
I include an excerpt from one of her entries that the publisher edited down to put on the back cover. The four-sentence paragraph starts: “Talking to paper is talking to the divine.” I include that paragraph and the full eight-sentence journal entry from which it was taken. Together they represent the essential message of this inspirational little book.
A 4-line poem by John O’Donohue says a similar thing—how he was amazed by each revelatory moment and turned them into poems.
Mary Oliver lived her life that way: “To pay attention, this is our endless and proper work,” and put it into a 3-line poem, Instructions for living a life: Pay attention. / Be astonished. / Tell about it.
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.
For a more enlightened approach to corporate development, read how Nathanael Chawkin offers a vision of leadership that extends beyond single leaders implementing their will upon an organization—one in which mutual self-awareness between individuals contributes to a more functional and higher-achieving whole.
Click the title to read whole article. Here are the opening paragraphs, with a few excerpted quotes.
Studies show that 7 of 10 workers would trade their current jobs for a position that offered them more fulfillment and meaning—a third would even take a pay cut for that offer. Businesses have been taking notice of these findings from the science of motivation. According to a study by PwC, 79% of leaders know that employee fulfillment is paramount to business success. However, only 38% of these leaders are actually making business decisions according to this metric.
In other words, businesses know that to attract the best talent and
maximize the potential of their employees, they have to create cultures
of fulfillment in the workplace. But they are struggling with
implementation.
Nathanael Chawkin, after over six years as an executive coach for an intensive, 52-week integral leadership program, came to see this gap as the difference between what leaders were willing to put into practice themselves and the change they were capable of implementing within their own companies. That’s why he founded Palaestra Leadership in 2016, where he has been on the frontlines of creating cultural change within organizations.
Here are a few quotes from this informative article:
“My whole business is based on the mojo of being ‘on the mat’—building teams who know how to challenge each other through handling conflict and using that to create a whole new level of trust.”
“When you feel psychologically safe enough to take the risk of telling someone the truth about how you see them, of extending yourself for the sake of their personal growth, it is actually the constructive feedback that can make them feel like you really care about them.”
“When employees directly engage in coaching each other, they can learn by doing. You don’t get better by watching me do push-ups. You have to do them yourself to improve.”
“90% of people are willing to coach and be coached,” Chawkin says, citing a study by Imperative. “And that’s how they get a sense of fulfillment.”
I was impressed by this comment posted by Ian Gardner, CEO at Royale EV, one of Nathanael’s clients:
Having worked closely with Nathanael over the last 4 years in both a personal and professional setting I can attest to the power of his process and the pervasive positive impact it has on both company culture and team members personally. I won’t start another company without this commitment being embedded in the culture.
And this one from former associate LeeAnn Mallory, Leadership Coach + Consultant; Organization Alignment Leader; Podcast Host; Board Chair, Conscious Capitalism Dallas:
Nice work, Nathanael! Distributed leadership AND democratized leadership development through peer coaching!
My son Nathanael Chawkin recently participated in a Forum at the Conscious Capitalism Event in Los Angeles put on by TOMS. While there, Dr. Nikki interviewed him for her Talks Health Podcast. His answer to her question is clear and succinct, using a relevant martial artist example that’s easy to understand on how to receive and give feedback by changing your perspective and becoming more authentic in your communication with others. It’s on his Instagram and YouTube channel. See How to Be More Authentic: Ask For Perspective First – Then Share Your Own! Visit his website for more information www.thepalaestra.com.
Nathanael Chawkin on TVSB show Rejoice with Pastor Chuk
My son Nathanael Chawkin sent me a link to the first in a series of conversations between him and Rev. Charles A. Reed Sr., Pastor, Santa Barbara Worship Center. Pastor Chuk, as he is known, and Nathanael both share a community center space in an old Santa Barbara church built in 1957. Nathanael offers Integral Martial Arts training and group meditation throughout the week, and Pastor Chuk conducts his faith-based services on Sunday mornings. Here is their first delightful discussion on his live TV Santa Barbara show, Rejoice with Pastor Chuk. It’s posted on his Facebook page: “Mystical Experience.” Nathanael posted it on his YouTube channel, with extensive notes: Walk the Talk: The Role of Religion as a Structure of Reflection.
The vegetation in Santa Barbara is varied and lush, with many exotic succulent plants, beautiful flowering bushes, and tall trees. I share my admiration for them as we drive through the city. Nathanael comments: “A tree can only grow as high as its roots go deep.” I write it down and start converting the idea into the first two lines of a haiku. I tell him we need a third line to complete it. After pondering the question for a moment, he recalls a universal phrase from the somatic arts (yoga, dance, martial arts) that his friend and coaching colleague LeeAnn Mallory had shared with him: “Root to rise.” I turn it into the last line to complete this short poem on a basic principle of growth.
Growth Haiku
Trees can only grow
as high as their roots go deep
Root yourself to rise
Maharishi always talked about developing 200% of life—100% inner spiritual development and 100% outer material accomplishments. We both say, “Water the root to enjoy the fruit.” Nathanael quotes the SCI Principle, “Outer depends on Inner.” I remember an early analogy: To erect a tall building you have to first dig a deep foundation. It’s similar to: First pull the arrow back on the bow to hit the target. Meditate then act. Established in Being, perform action.
My son takes photos of the changing panorama before him throughout the day and night looking out from the hills of the Santa Barbara Riviera. Today he posted this beautiful early morning image on Instagram. It inspired this haiku.
Photo by Nathanael Chawkin
Santa Barbara Riviera Haiku
mystical seascape
white waves rolling in to shore
morning mesa mist
See a haiku, Translation, inspired by a painting of Egrets by Australian artist Gareth Jones-Roberts. The poem was published in two poetry anthologies. Nathanael also likes that combination so I’m mentioning it.
About 6 years earlier, Nathanael had lived in San Leandro as an uchideshi. I had visited him there and witnessed his Sensei demonstrating Aikido, which inspired this tanka, My Son’s Sensei. Someone posted it with a tree that reflected the image in the poem. Nathanael happened to be visiting the dojo and sent it to me. Perfect fit!
The New York Times calls Billy Collins “the most popular poet in America.” In his poem, Introduction to Poetry, the former two-term U.S. Poet Laureate (2001-2003) suggests more creative ways to respond to poetry than analyzing it to death. This blog post also reveals how Collins writes and teaches poetry. It may surprise you.
Introduction to Poetry
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem’s room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
Billy Collins speaks to English teachers in this poem who look at poetry as something to be analyzed and dissected. They teach their students to try to find out what a poem means instead of emotionally responding to it. To make his point, Collins amusingly suggests ways students might approach and experience a poem, instead of “beating it with a hose to find out what it really means.”
Writing and Teaching Poetry
Collins reveals more about his writing process and how he teaches poetry when answering a question from a middle school English teacher. He acknowledges the search for meaning in a poem, but when he writes a poem, meaning is the furthest thing on his mind. He’s just trying to get to the next line, and the next, to finally arrive at the ending.
Basically when you’re teaching poetry, despite that poem (Introduction to Poetry), you’re talking about meaning. We’re basically extracting meaning from the poem. And I realized at some point, that when I wrote a poem, meaning was the last thing on my mind. I never gave it a thought.
Basically, in a poem, I’m just trying to find the next line. I’m trying to find a way for the poem to go. And I’m trying to get to some destination. I’m not thinking about, ‘What’s the poem about, or meaning?’ Or, I’m not thinking of, ‘How will people write study questions about this poem and make any sense out of it?’
So I try to bring some of that into my teaching. I try to substitute for the question, ‘What does a poem mean?’ the question, ‘How does a poem go?’ ‘How does a poem get where its going?’ (It goes from the beginning to the end, maneuvering through shift points along the way, in search of a destination.) A poem is always searching for its own ending. And that’s what poets are thinking about. It’s not a search for insight, particularly. It’s a search to be over with.
PBS NewsHour’s Jeffrey Brown interviewed Billy Collins on their Poetry Series about his new collection, Aimless Love: New and Selected Poems. “I knew that poets seemed to be miserable,” said Collins about his younger self, yearning to fit in. While he admits he “faked a miserable character” at the start of his career, he’s since embraced his sense of humor. Poet Billy Collins on humor, authenticity and ‘Aimless Love’
William Stafford on Writing Poetry
William Stafford was Poetry consultant for the Library of Congress in 1970, what a Poet Laureate was called before they created the office. He was named Poet Laureate of Oregon from 1975-93. Stafford’s style of writing and teaching was process-oriented. He gave no praise or blame to his students’ writing. He encouraged English teachers and writing students to be innocent when writing poetry, without any preconceived notions of how it should go, and to be open to discovering the unexpected turns a poem could take on the way to its own completion.
Stafford was very open to spontaneity and receptivity when writing poetry. He said most teachers would spell out what a piece of writing should look like, and expected their students to reproduce the same. This product-oriented approach left no room for the imagination. “They want a wilderness with a map.” But, he asks, “how about errors that give a new start?” Errors, he said, “make a music that nobody hears. Your straying feet find the great dance,” and “stumbling always leads home.” That’s how he wrote poems, early every morning. Enjoy reading these William Stafford poems, A Course in Creative Writing, and You and Art.
My Own Experience as a Writer
I agree with Collins and Stafford that the creative process is a mystery, and coming to the end of a poem is a wonderful relief, especially when I see it finishing itself. It also surprises me with what it’s about, sometimes revealing a deeper meaning at the end than imagined. This meaningful sense of completion is why writing poetry can be so fulfilling.
My son Nathanael Chawkin wrote a poem called INSPIRATION, an outcome from the first homework assignment in his Grade Six Literature class. He felt strongly that you couldn’t force a student to write a poem; it had to come on its own accord. The poem innocently and profoundly expresses the spontaneity of the poetic process. I also added information with links after his poem about the writing process you may find interesting.
Cliffhouse Deck at Dusk, 6th haiku in 13 Ways to Write Haiku: A Poet’s Dozen, brings our attention to a tiny soft sound, making us aware of the ‘loud’ vast silence, a point that enlivens infinity. John Cage would agree.
Just came across this 16-second introduction by John Cage to his composition 4’33” which says the same thing, in his own inimitable way. His literal truth and sense of humor come through.
The material of music is sound and silence.
Integrating these is composing.
I have nothing to say,
and I am saying it.
For the musicians who ‘performed’ the piece, and the audience who listened, the silence was palpable, as you’ll hear from Tommy Pearson’s introduction and concluding comments with Tom Service in this BBC Symphony Orchestra performance of John Cage at the Barbican. Towards the end he quotes Cage as saying, “Everything we do is music.”
The Uncarved Blog 