Oh man, you gotta go to this site and see Trump fire Bush.
Got this in an email: Bush as Post Turtle. Love it.
While suturing a laceration on the hand of a 70-year-old Texas rancher (whose hand had caught in a gate while working cattle), a doctor and the old man were talking about George W. Bush being in the White House. The old Texan said “Well, ya know, Bush is a ‘post turtle’.”
Not knowing what the old man meant, the doctor asked him what a post turtle was. The old man said, “When you’re driving down a country road and you come across a fence post with a turtle balanced on top, that’s a post turtle.”
The old man saw a puzzled look on the doctor’s face, so he continued to explain, “You know he didn’t get there by himself, he doesn’t belong there, he can’t get anything done while he’s up there, and you just want to help the poor stupid bastard get down.”
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Sweeter than wine..
How sweet it is when a stranger finds your weblog and then emails you a compliment. Such was the case today when Greg Perry, who has a cleverly wine-designed weblog, told me that he’s been following my struggles to write poetry-on-assignment. He offered to link to me and asked me to link to him. Well, that’s a no-brainer! I’m also going to co-opt some of his poetry links and add them to my blogroll. (Except not tonight. I’m pooped.)
This connection from Greg has come at a perfect time for Kalilily Time, as I struggle with the fact that the blogcrowd around whose edges I’ve been running since I first began has gone off and left me behind. Or rather I’ve gone off in another direction. As a matter of fact, I’ve felt a little lost lately.
I’m not interested in the ins and outs of this technology. I’m a writer. I want to write about two things — caregiving and poetry. Well, sometimes about my grandson, too. And politics. Certainly politics. Politics and poetry. And loss.
As my mother loses herself in Yonkers, she finds this 1959 photo of me motor-boating up the Hudson River during the one summer I did go home between college semesters. Ah, was I ever that young? That slim? Yes. That “me” is long lost.

I never imagined, back then, when the Hudson River just outside New York City was clean enough to water ski in and life was just one big sunny-day boat ride, that I would wind up here.
So, I take a cue from Greg Perry’s post about the meme that’s going around and
1. Grab the nearest book.
2. Open the book to page 23.
3. Find the fifth sentence.
4. Post the text of the sentence in your journal along with these instructions.
And this is what I find in John Horgan’s Rational Mysticism:
“But the infinite can exclude nothing.”
Hmpf.
Lost in Yonkers
That’s where my mom’s thoughts are these days — lost in Yonkers, which is where she lived most of her life and where I grew up. She’s spending most of her time going through old photos and organizing them. As she does this, she’s transported back in time, back to better times, back to the times when our extended family numbered in the many, many dozens. Now, the few that are left are even worse shape than she is in. She got a call yesterday that one of my aunts is in the hospital dying of cancer. Losing. Losing. Lost. This is my mom in the 1940s having her portrait painted by a woman-artist who escaped the Nazis and whose husband-doctor my dad helped to set up a practice in Yonkers back.

The portrait is no Vermeer, but I can probably write a better poem about it than I seem to be able to do with the assigned Lady Writing a Letter.
I guess I’m feeling pretty lost myself, although not in Yonkers. I’m feeling lost in my own skin, my own life. I can’t seem to generate whatever it is I need to work on my poetry. As a result, I’m not at my every-other-Tuesday-night group, and I won’t be going to the Grennon workshop on Thursday. Actually, I’m heading out to Boston on Friday to help my daughter and son-in-law look at some houses they might want to buy. Getting ready for that trip is a whole lot more important to me than sitting down and wrestling some more with Vermeer’s Lady. My brother is coming up to stay with my mom. And I’m packing up my car with food and diapers and more toys for my little grandson, and bags and bags of Peppridge Farm double chocolate Milano and Geneva cookes that I buy at the discount outlet store because we’re all addicted to them.
The poetry will come when it comes. I’m driving out of here to get lost in family.
And then I’ll come back and work on getting ready for the last of the Grennon workshop sessions. I don’t want to miss that last one, because it’s the last workshop I’m going to be doing for a long while to come. I’ll either write poetry or I won’t. But I will or won’t on my own terms.
A Walk in the Park with Mom
It’s hardly a metaphorical “walk in the park,” but it was worth getting my mom into a wheelchair and taking her for a walk around our next-door park. Good exercise for me, actually.
Spring is not my favorite season — something to do with allergies, adjusting to warmer weather and all that comes with it. There’s a heaviness all around me — both in metaphor and reality.
I’d love to be able to “spring clean” my life; I’m hoping I can get enough energy up to throw out those old “corporate” clothes that are left over from my old life. I live in jeans and t-shirts and expect to continue to do so.
Mom walked in. Gotta go.
Like a Labyrinth
Sometimes life, like a labyrinth I wrote almost a year ago.
I think that I applied to the Grennon poetry workshop to see if I’m good enough to get in. I got in. Now I’m struggling to keep up. Not that I’m not good enough; rather my attentions are elsewhere. I’m a caregiver. I’m remembering today an art exhibit I went to back in September of 2000, when my life was my own and caregiving was absolutely not an option I would consider.
The exhibitor was Gail Nadeau, and her works were photographic enlargements of collages that she and her (dying from Alzheimer’s) mother had put together during the mother’s final days. It was called “From Artist to Caregiver: Holding the Edges Together.”
This is one of their collages, which I scanned from a postcard reproduction that I picked up at the exhibit. I was drawn to it because it’s called “Saffron’s Garden,” and the cat in it is a replica of my first cat, whose name was Saffron — you know, like in Mellow Yellow.
I made a point of talking to the artist, who was there at the opening reception. She talked of how she had given up three years of her life to help her mother through the most difficult time of both their lives. It seemed to me that she didn’t give up much as an artist, because what she did was immerse herself in an experience that she transformed into the most moving and awe-some art.
Now, in one sense, that’s a selfish way to look at it. In another, it’s a way to remind myself that life is what you make it.
I was the only one in Grennon’s workshop who didn’t really do the assignment as assigned. The good part was that, in my private session with him, he helped me begin revising the poem I’ve been having trouble with. It’s now transforming itself into three related poems. More on that another time.
The other good news is that, on my way into the building, I noticed a flyer announcing a presentation/book signing by John Horgan, science writer and author of Rational Mysticism. Now, that’s a title that catches my interest. He will be on campus on Monday, May 3. Maybe I can make it.
In the meanwhile, I go and get the book from the library. A blurb on the back cover says “A thought-provoking pilgrimage to the growing interface of science and spirituality…” I start reading the book and am hooked. It’s not that he gives any answers. There are no answers. What he does is remind me that it’s the transformative power of the journey that’s the point. Awesomeness emerges from going deep and being open to the experience of the moment.
Last night I watched an episode of “Without a Trace,” that I had taped in which one of the characters finds out his father (with whom he has the same kind of relationship that I often have with my mom) is slipping into Alzheimer’s.
There seem to be messages here for me in all of this. The messages I often and otherwise get from the world around me translate into something that seem to say ” be more selfish…put your mother aside and live your life…”
I remind myself of Nadeau’s choice and the results. I absorb Hogan’s reflections on what is truly “awe-some” about life.
My labyrinth. My path. My journey. My choice. Who knows that marvels might result?
UPDATE: Hah! So I go for a walk in the beautiful park next to my building and notice that there are a bunch of guys putting in dozens and dozens of 6 foot high spruce in some kind of pattern. “That’s a lot of trees. What’s that going to be?” I ask. “A maze,” he says, “146 trees and a quiet place to sit in the middle.” Now, a maze is a configuration meant to confuse; you can get lost in a maze. I doubt if they’d put a maze in a park where there are lots of little kids running around. But a labyrinth?? I’ll be it’s a labyrinth — which leads to a center, and in and out of which there is only one way. How about that for meaningful coincidence?
The Language Game
Michael Moore rides again in this post, which reminds me how my cousin’s tour of duty has been extended in Iraq so that the war profiteers don’t have to take any risks.
First, can we stop the Orwellian language and start using the proper names for things? Those are not
Fudging the assignment.
This is what I’m taking into my workshop session tomorrow. I was supposed to revise what was selected (out of three I had written) as the first stanza of a poem about Vermeer’s painting and then write three possible second stanzas. I gave it my best shot, but that didn’t work for me. What works for me is this:
Vermeer
You definitely can’t push a rope.
I’m getting nowhere with revising and creating the poetry for the workshop session on Thursday. My muse is not even a rope; she’s a thread — a worn thread raveling from the edge of my sleeve of care.
Instead, I
— take my mom out to find a quad-cane that works for her; none of them is the one
— start trying to root two avocado pits
— touch up my hair color, which takes some time because I mix two different colors (it’s that tinkering thing again)
— eat some chocolate
— order a nose aspirator and cheap stethescope for my grandson.
— check my weblog comments
— read my son’s weblog
— read my email and follow a link to here
— finish the fabric book I’m making for my grandson
— cook up a batch of chicken marsala and freeze some for my next Boston trip
— leave the new batch of dishes in the sink for later
— pet my cat
— blog
— ponder some more the woman in the Vermeer painting and come up with this:
She wonders what lie to tell him this time.
A husband returned from trade too soon?
A fretful child awake all night with fevered dreams?
What she can
Small question. Big answer.
The dishes are done. The cat litter emptied. Mother has been given her food and her pills. And all the while I’m pondering how I would answer this question that I have asked myself: “Why do you want to write poetry??”
And this is what I have come to realize:
I don’t WANT to write poetry. What I want is, when I feel COMPELLED (read “inspired”) to write a poem, to know how to make it a really good poem , to energize it with the power of language, technique, form.
That’s why I’m in this workshop.
Poet at Work. Blogger at Process.
Burden or Bliss?
Last night, I spent three hours in front of my computer screen, wrestling with that damned #3.
In a time of previous struggle, a friend of mine reminded me that “you can’t push a rope.” My muse is as limp as a rope.
It’s Easter Sunday. It’s Spring. When does bliss become burden?
I resurrect an old poem.
Waiting for the Fall
I was never one to yearn for spring,
the sky too full of eager wings,
the air a burden of song.
Even the ground swells, straining
under a yoke of seeds.
I wake with the winds of autumn,
when a cold sun
fades the trees to clarity,
when the line of the sky
cuts clean and sharp
above the leveled land,
when the earth is a slate
set for the poet