Cookie commemoration

Quarantine cookies are a real thing.

Not just the baking of them as a means of COVID-coping productivity, but as an expression of the times.

My daughter-in-law—artist, baker, craftsperson extraordinaire—created these cookies a few weeks ago. She and my son delivered them with my granddaughter via a front porch social-distance visit:

My ebullient four-year-old granddaughter belly-laughed on presenting these whimsical delights: “TOILET TISSUE COOKIES!!!!!”

“And face masks and soap!” I exclaimed.

“They’re too pretty to eat!” said my husband.

But we did. Every crumb. With joy.

I thought about the joy with which these cookies were infused, how ingesting them was an antidote to the virus zeitgeist. What you put into a thing is what you get out of it …

Yesterday my son and his family made another delivery:

“Ooooohhhhh,” my husband and I breathed in unison.

As we admired the astonishing artistry, I noted a shift in the cookie symbolism: Not just physical survival, as in the previous batch, but spiritual (coffee counts as both, right?). The fleur-de-lis, emblem of our daughter-in-law’s Louisiana roots, long associated with Christianity and the church, an icon from antiquity for royalty and protection. Choosing to believe, as the stages of isolation drag on, that the uncertain future can, and will, be beautiful. “Unbridled hope for tomorrow” … such trust. Such zest for life.

And a pencil.

Truth is, we write our tomorrows by our choices today … and nothing represents spiritual survival to me more than writing.

I call it: “The pencil is mine.”

“I want this one,” said my husband, picking up the fleur-de-lis. How he misses going to church, being with the flock he pastors. A shepherd pining for restoration, preservation.

We share the consumption of hope.

Every sweet crumb of it.

Ode to the wind

It’s an ill wind that blows no good.

Those words have been lurking, brooding, around the perimeter of my mind this long, strange, separated spring.

Even on the brightest days, the wind remains a peculiar Presence in my otherwise quiet corner of the world. This is not normal behavior. I cannot decide if its constant moaning represents mourning for the dead and those yet to die of COVID-19, grief for the state of the world at large, or if it’s a harbinger of bleak times ahead for human existence. The earth lives on, arrayed in spring splendor, while the life and livelihood of people has frozen. Time stands still. For how long, we don’t really know: what time frame is there for outlasting a deadly microorganism? Seems the wind knows … on and on it blows, perhaps not ill in itself, but certainly as a soundscape to a ravaging illness. Somewhere in the sound is a sense of statues, cracking, crumbling, turning to dust, being swept clean away.

So it seems to me, anyway. Sometimes.

Haunting, daunting, taunting, flaunting … I cannot decide which. Perhaps all.

Then, the trees.

Last week, while composing my “I Am From” poem, I decided to choose a representative tree. I meant to write of bald cypress, for I love them, I identify with them, they are a symbol of my southern heritage. I even love the sound of the name. Cypress. But almost instantaneously a vision crowded out any other tree: the little pine sapling that grew to a towering height in the backyard of my childhood home. When I left at twenty, it was a majestic presence, a sole monarch holding dominion over the ditch-adjoined, chain-link backyards of the neighborhood. Hardly an enchanted kingdom, but don’t try to convince my pine of that. It would be my representative tree. Reaching ever-skyward, grown wide with long, heavy, green-needled boughs undulating like ocean waves. Whispering, whispering, always whispering …

Today I read this tweet by Robert Macfarlane:

Word of the day: “susurrate”—to whisper, murmur, esp. of noise produced by numerous individual sources of sound (bees humming, leaves rustling, etc.) Compare to “psithurism,” its similarly sibilant sense-sibling, meaning the whispering of wind in trees (from Ancient Greek).

—That’s how the universe works. Messages of perception. Then sometimes supplying the exact right word (the universe is a writer).

Pining
Sighing
Inner crying
Truths revealing
Hidden healing
Unknown to me
Regal tree
I listen listen to your whisper whisper
Susurrus secrets, ceaseless, swirling
Mystery messages written by the wind

There’s something being said, for sure. If only I spoke pine. Or wind.

Pines, by the way, represent survival, longevity, protection (think “shelter”). Sometimes the pine is called the tree of life. Perhaps there’s a promise in this psithurism.

But you, Wind, remember—you’re ill if you don’t bring something good.

The whispering pines in my backyard now.

Easter morning visitor

While we couldn’t attend church yesterday, it doesn’t mean a presence wasn’t there.

A friend went to photograph the dawn and heard a song coming from the steeple.

The building, empty like the tomb, had its own winged messenger at the first light of Easter.

If you do not know: A cardinal bird can be considered a sign of the divine—I’ve written of it before (Divine appointment). The vivid red birds also represent life and blood. In Christianity, specifically, the blood of the living Christ. Thecardinalexperience.com states: “Traditionally, the cardinal is symbolic of life, hope, and restoration. These symbols connect cardinal birds to living faith, and so they come to remind us that though circumstances might look bleak, dark, and despairing, there is always hope.”

Cardinals were named for the red-robed bishops (although this one’s sitting on a Baptist church). Name associations include heart and possibly the Old Norse word for cross.

Which is, of course, atop the steeple where our visitor perched to offer his doxology.

First light of Easter morn
Found the church silent, forlorn
Empty of its life, its music, its people
And a winged messenger on the steeple
As if proclaiming the old, old story
Singing, full-voiced, Glory, glory, glory.

Photo: N. Winn. 04/12/2020.

On the finches not returning

Today I lift a line from Emily Dickinson.

“Hope” is the thing with feathers—
My finches, every spring—
On my wreath their nest awaits
New life they always bring—

This year —more than ever—
I watch for their return—
Yet the nest is empty
Of that for which I yearn—

I wonder what is keeping them
And if my charm is gone—
Do the finches know somehow
Life must keep moving on—

Come home, little finches—
Come home— if you will—
Hope is the thing with feathers
Where I’m abiding—still.

Note: “Charm” is the group name for finches.

Prayer for the nations

Today, a golden shovel poem: taking a line from another poem or work and crafting a new poem with the last word of each line comprising the original.

Mine is taken from a verse of Scripture in honor of its promises, spring, and the healers across the world on the front lines of the COVID-19 crisis.

Prayer for the Nations

In newness the

tender leaves

of promise, of

restoration, of the

dogwood tree

uniformly were

donning white robes for

their works of mercy, the

bringers of healing,

bringers of comfort, of

life, as ministers of the

prayer for the nations.

*******

Revelation 22:2: “The leaves of the tree were for the healing of the nations.”

In addition to its Christian symbolism, the dogwood represents strength and durability; it is able to endure adverse conditions.

Photo: Sunlight and dogwoods. Duane Tate. CC BY

Still waters

Today I write with a group of friends for Spiritual Journey Thursday.

The word restore has been on my mind these days. More or less as a question: When will society, the economy, the country, the health of the globe be restored to pre-COVID-19 conditions? And what will that restoration look like? How changed or different will everything be?

I think on this a lot, as is there is a lot of time to think.

Naturally a well-known line from the Psalms also comes to mind: He restores my soul. It speaks of peace and confidence, of a daily trust. I watch the news, the frenzy of those in the medical profession, pleading on behalf of us all; the government having to count the cost of a shut-down economy as weighed against the life and well-being of its citizens; and everyone worried about having enough resources for coping. They’re all waging a mighty battle against an insatiable, tenacious, invisible pathogen.

While the rest of us watch from a distance, sheltered. Protected. Trusting that the decisions made for us will preserve us, restore us.

We wait in the stillness.

It brings the preceding line of Psalm 23 to mind: He leads me beside still waters.

I could make an analogy of a stormy, violent sea for the government, the medical field, and the stock market, in contrast to the majority of us waiting at home, by the still waters … but a story resurfaced in my memory instead.

Long ago, when I was about seven, I attended a church service where an older girl was baptized. She was perhaps twelve or so, a sweet and affectionate girl well-known and loved by the congregation. It was an exciting morning for the church … except that as this girl entered the baptistry, she was sobbing.

“I can’t do it,” she bawled. ” I can’t …”

Abject terror.

Even as a seven-year-old, I knew she’d chosen to be baptized. She’d walked the aisle some weeks before and professed her faith. I knew the pastor made new members, including children, attend a series of classes to understand the tenets of the faith and the ordnance of baptism. I didn’t understand it all myself, not yet, but I knew this girl, garbed in a white robe, hovering at the steps leading down into the water, crying, wanted to act on her faith. I’d never seen anyone react this way to being baptized: Why’s she so scared?

I look back now and wonder: Was she simply afraid of water? Had she never gone swimming in a pool, as I had?

The water wasn’t deep. It wasn’t cold; it was heated to be comfortably warm. It wasn’t waves crashing on the shore, no dangerous undertow, just clear, still water.

Our pastor, a humble, middle-aged man, a former Navy pilot in WWII and a Bible scholar, stood in his own robe of white at the center of the baptistry. He reached out his hand: “It’s all right, Dear Heart. See, I’m here. It’s safe. You know I’m going to hold onto you.” When she stayed rooted to the steps, clinging to the hidden rail, our pastor waded over, put his arm around her, and led her into the pool.

He held her for a moment. We heard him whisper: “Are you ready?”

Loud sobs, but a nod of her little head.

He raised his hand heavenward:

“I baptize you, little sister, in the name of the Father, the Son, and the Holy Spirit …”

Whoosh.

She went under and just as quickly, he raised her back up.

“I DID IT!” she shouted, hair plastered to her head, wet face shining. “I DID IT!”

If ever there was a vision of radiant joy, that’s it.

The entire congregation wept, even seven-year-old me.

The tears return even now, remembering.

He leads me beside still waters. Sometimes through still waters. When we cannot see the bottom. When we’d really rather not descend into them, when we don’t want to get wet at all, when we fear not so much immersion but submersion: How long will we be under? Can we last?

He restores my soul. It is a matter of trust that, somehow, all will be well, that we will be raised back up, we will be led safely through.

For now, we wait in the stillness like water lilies … which, in the Tamil poetic tradition, happens to symbolize the grief of separation.

On the placid surface

rest the blooms

in waters still.

Their unseen roots

anchor them

to the earth

far below.

And so we float

suspended

separate

waiting

enduring

this strange baptism

yet anchored

to one another

by unseen roots

while time stands still.

Today, in my mind, in my heart, the word restore echoes over and over and over like a prayer.

Photo: Water lilies on a pond at Powhatan State Park. Virginia State Parks. CC BY

*******

Thank you, Donna for hosting April’s Spiritual Journey Thursday.

Mourning dove blues

Mourning doves are said to symbolize providence, grace, peace, safety, renewal, and moving forward. Their low-pitched song sounds sad or comforting, depending on the listener. I dedicate this lament to the dove outside my kitchen window, whose plaintive murmur I hear in the dark, just before sunrise.

grim gray morning

grim gray news

grim gray outlook

grim gray blues

time to shelter

time to snooze

time to waken

time to muse

dream to endure

dream to choose

dream to escape

dream . . . a ruse

morning to ponder

morning to lose

morning pours out in

mourning dove coos

*******

Photo: Nesting mourning dove. Katy Tegtmeyer. CC BY

Global heart map

Yesterday I read about LitWorld’s Global Heart Map Project.

I’ve created heart maps before with students, for staff development, and for workshops on teachers as writers. I have, and love, Georgia Heard’s book: Heart Maps: Helping Students Create and Craft Authentic Writing.

But this global project literally caught my heart.

In the words of LitWorld: “Heart Maps allow us to connect with each other by sharing the ideas and feelings that define us in the most elemental of ways —and in these uncertain times, that connection is more important than ever.

Their call is for submissions of heart maps as a means of inspiring hope and strength around the world. For me, at the moment, it’s about the collective story of humanity, uniting now in time of great need. This is something children of all ages can do to express their fears, concerns, gratitude, and love. And, with distance learning in full force by necessity, I cannot think of a better way for teachers and students to connect, combine, and contribute to the world.

The directions on the site about how to submit are simple, as is the invitation to create the heart map: “Inside the heart, draw or write about the ideas, the feelings, and the things that are most important to you at this time.”

And so I did.

Up until now, I’ve only written words on my heart maps. This global one, in these times, seemed to call for something more … so I drew what’s in my heart today.

I’ll supply you with a key, in case.

In the center of my heart: Faith. I have never been more grateful for it. This is where my map begins.

At the bottom of the map: Hope, as the rising sun; I see everything else in its light.

The rays of Hope are shining on a clouded world. If you look closely, all around the rim of the world are the words The Earth is upside down. The Earth is upside down … the compass directions of N and W are there but the map must be turned upside down to see them as they should be.

On the left, Friends, above it, Family, and between them, Books; this wasn’t intentional but it occurs to me that books ARE my friends and my family, too … there’s clearly some subconscious stuff coming to the surface here…

Beneath Books: The American flag. My country, ’tis of thee, my home sweet home … how my concern increases daily for your well-being … for our well-being … Old Glory touches Faith. Behind the flag is is a chain; on each link, a tiny letter, spelling Technology. How grateful I am to be living in a time when isolation is only physical and that technology exists to keep us connected to one another.

Looming rather large at the top through the middle: A rose. It developed of its own accord out of the swirls around Family. I found myself just drawing it out. Why should a rose appear here in my heart map? What does it mean? Maybe it’s again representing my country; the rose is the national flower of the United States. And of course a rose stands for love. I think it may be a memorial flower, for those who’ve already died in the ravage of COVID-19. Most interesting to me … the words sub rosa, “under the rose,” mean secrecy and confidentiality … if you look, you’ll see the bottom of my rose is connected to Writing. I don’t know why I connected the rose to Writing. I just knew the rose should spring from the end of the word. I don’t know the secret yet. I’ll probably have to write to find out. Even further sub rosa are tiny music notes; at the edge of the upside down world, in light of Hope, a song remains in my heart.

Beside the pencil for Writing is a teardrop for losses and sacrifices made in this pandemic, and a caduceus representing the medical profession, fighting hard on behalf of us all.

Note that entire upper right corner is cracking. My heart breaks for Italy today; their losses, the horror. It’s staggering. That’s the Italian flag there behind the praying hands, encircled with the word PRAY repeated over and over: PRAY PRAY PRAY for the tide to turn in Italy …

Oh, World.

Today you are my heart.

Spittin’ image

Memoir is probably my favorite kind of writing.

It’s like small moments on steroids. When I write myself back into childhood, scenes, conversations, little forgotten details are pumped full of meaning, for I have the advantage of understanding so much more than I did then . . .

This event occurred when I was seven or eight. As I write, I think of how we don’t know all that children are experiencing or how they’re trying to navigate life. Families don’t make perfect portraits. There are so many reasons why.

We are our stories.

With that in mind I’ve opted to change family names here. It gives me the final shot of courage needed to share “Spittin’ Image.”

*******

We are going to visit my grandfather.

Not my Daddy’s daddy, my Sunday-afternoons-in-the park Granddaddy who bought me red rubber boots when I started school because all my kindergarten friends had them and I wanted them, too.  We are going to see my Mama’s daddy.  I don’t know him very well. He came to visit us once, sat in our living room chair with his hand stuck out so that when I ran by, not paying attention, not being careful, his cigarette burned me.

Mama says he lives in a hospital.

I don’t know why anyone would live in a hospital. I don’t want to go see him, don’t know why we have to go.

My mother gets snappy: “He’s your granddaddy—you’re going!”

My aunts are taking us because Mama doesn’t drive. She doesn’t know how.

“Last time I seen Daddy, he was looking better,” says Aunt Bobbie, who’s driving us in her maroon Ford LTD, a Marlboro sticking out from the first two fingers of her right hand on the steering wheel. I see her mouth in the rear-view mirror. There are little pucker lines around her lips. “I believe he’s eating good. Acted happy to see me, too.”

Aunt Imogene—Genie, I call her—is riding shotgun in front of me. She takes a long drag on her own cigarette. I slide over so I can see the thick white smoke pouring out of her mouth and how it all goes right up her nose, like a waterfall in reverse. It’s neat to watch. About ten minutes pass before she speaks; Genie never does anything fast.

“Waaaay-yelllll…” says Genie, stretching the word well into four or five syllables, “at least we know he’s taken care of at the Home.”

Beside me in the backseat, Mama puts a Salem Menthol in her mouth and flicks her lighter, inhales. She doesn’t do fancy stuff with her smoke. She is quiet.

She is often quiet.

The ride takes forever. Finally Aunt Bobbie says, “We’re here,” and we pull into a parking place bordered by pine trees.

Mama drops the butt to the ground and grinds it into the gravelly dirt with her sandal. This is my grandfather’s Home, I guess, but Mama told me it was a hospital, so I’m confused. When we go in there are many small rooms but no bright lights, no doctors in lab coats, no nurses wearing white dresses and little caps. There’s a lot of wood paneling. The Home makes me think of a really big cabin but the people here don’t look like campers. Some are in wheelchairs, some are standing. Some are in pajamas. Not all of them are old. They stare at us as we go by and I don’t like the feel of their eyes.

Aunt Bobbie leads the way, down a hall, around a corner. I peek in one room and see a man with long white hair lying in bed with his mouth open, but he’s not asleep.

I want to run out of here.

Genie says, “Waaaay-yelll, hey, Daddy.”

He’s sitting in an armchair in a little living room area, holding a lit cigarette in the first two fingers of his right hand. All of his fingers have yellow stains. His nails are brown and long, and the ashes on that cigarette are the longest I’ve ever seen; why don’t they fall?      

Genie hugs him. Aunt Bobbie hugs him. He says “Hey” to them in a high, raspy voice. He doesn’t have much hair. His face is long, kind of yellowish, kind of gray, with brown spots. His clothes have spots, too, except that they’re actually small holes. From dropping cigarettes. Or ashes.

Mama is hanging back but Aunt Bobbie pulls her over.

“Daddy, look who come to see you. Beverly Ann.”

“Hey Daddy,” says my mother, bending to hug him, then stepping back. “How are you doing?”

My grandfather looks at her, his daughter, my mother, and I can tell he doesn’t know her.

Next thing I know, she’s yanking on my arm.

“I brought your granddaughter to visit.” She tugs. “Come on, give your granddaddy a hug.”

I do not want to.  I don’t move. I just look at him.

Genie pokes me from behind.

“Go and see him,” say my aunts. “He’s your granddaddy.”

I already see him and he sees me. For a minute I look into his eyes—they are big, green like moss—and the emptiness there makes me think of a hole in the ground that has no bottom. Or the time Daddy was holding me when he opened the medicine cabinet and its mirror reflected into the mirror over the sink. Mirror, mirror, on the wall . . . it became a mirror, mirror, mirror hall, reflected mirrors going on and on and on, growing tinier and tinier, like a never-ending nothingness. I’m frightened of my grandfather’s eyes, frightened that he’s looking at me with them, that something about them makes me think of my mother.

Then they light up. He knows me! He holds out his hand—not the one with the cigarette, I have my eye on that one—and calls to me:

“Beverly Aaaannn…” he says, drawling like Genie does.

“No, Daddy,” says Aunt Bobbie, “this is Beverly Ann’s daughter. That,” she points to Mama, “is Beverly Ann.”

He keeps right on staring at me.

He doesn’t get it. He thinks I am my mother. When she was little.

I hug him because I have to, because the sisters, his daughters, are making me. His skin is cool and frog-like. When I pull away, he’s still looking at me.

 Am I supposed to love him? I don’t know him. And he doesn’t know me.

We don’t stay long. As soon as we’re outside, Genie bums a light off Mama, who’s shakily firing up another Salem. Genie sucks deep, does her dragon-smoke thing, nods at me.

“I’ve said it a thousand tiiiiiimes, you are your Mama’s child, that’s for sure. Spittin’ image.”

“Ain’t she though?” agrees Aunt Bobbie.

I walk beside Mama. The aunts move ahead of us. Hoping they won’t hear, I whisper: “Why did he think I’m you, Mama?”

“His mind’s not right. Never has been,” she says, taking a drag, looking off in the distance at nothing in particular. “I really wasn’t around him much. I was a little girl when he left home.”

“Why did he leave?”

She turns her eyes on me. Dark brown eyes, like mine, and for a second they have that bottomless look. She’s slow to answer but not in the way that Genie is slow to do things. She takes another long drag.

“Grannie sent him away because he tried to hurt her.”

“Were you sad?”

“No.” Then, softly: “I was scared of him.”

Aunt Bobbie cranks the maroon LTD; Genie is getting in the front passenger side. Mama looks back at the Home and I wonder what she’s thinking. As I reach for the door, I catch my reflection in the backseat window. I glimpse the pines and the cloudless blue sky behind me. Crows fly overhead, cawing loudly. Yes, I do look a lot like my Mama. Even I can see that.

I feel shaky, too. I lean in to look closely at my own eyes, hoping to God I never find them so empty.

Broken

broken moments

broken things

broken heart

yet it sings

broken flight

broken wings

broken fall

still it stings

feathers here

feathers there

feathers falling

everywhere

who’s at fault

I can’t say

we’re all broken

in some way

fallen is forever

broken is for now

people aren’t angels

anyhow

glue for mending

desire to start

wells within

the broken heart

in breaking through

not breaking worse

from broken pieces

comes broken curse.

Photo: Forgive Me. eddie dangerous. CC BY