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Showing posts with label Rilke. Show all posts
Showing posts with label Rilke. Show all posts

Sunday, April 08, 2012

How to Bloom: chicks, blossoms, and a Rilke poem

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After a couple of years Don has resurrected the chicken yard with 22 white Leghorns, 2 Barred Rocks (these photographed are a Leghorn and Barred Rock), 4 Aracaunas, 2 Rhode Island Reds, 2 Isa Reds, a white turkey, a bronze turkey, and 12 quail. It is good to have their chirps again, and soon enough, eggs. The quail will lay by June, and the chickens by September.

The ornamental crabapple and many other fruit trees are bursting.

On Easter Sunday morning, I feel this blooming, and marvel, along with Rilke.

How to Bloom

The almond trees in bloom: all we can accomplish here is to ever know ourselves in our earthly appearance.

I endlessly marvel at you, blissful ones—at your demeanor, the way you bear your vanishing adornment with timeless purpose. Ah, to understand how to bloom: then would the heart be carried beyond all milder dangers, to be consoled in the great one.

    ~ Rainer Maria Rilke, from Uncollected Poems




Happy Easter
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Monday, January 02, 2012

A new blog in a new year: sparks and mirrors

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“Go into yourself and see
how deep the place is from which your life flows.”

~ Rainer Maria Rilke 

Some of you found me, with Lorenzo (of The Alchemist's Pillow blog), at our year-long blog where we posted readings from the book A Year with Rilke in 2011. It feels impossible to summarize the year there, much as it did after I finished RUMI DAYS, another such blog of soul and spirit the year before. I know that I have been changed as a result of those daily readings, and the interactive commentary from readers. It was deep and wondrous, opening doors and windows onto light I had not imagined existed. Sometimes I think we created light, together, following Rilke on his path. And now, I can't recall what or who I was before these transformations.

In a letter to Witold Hulewicz Rilke wrote:

All the worlds of the universe plunge into the Invisible as into a yet deeper reality. Certain stars increase in intensity and extinguish themselves in the angels' endless awareness. Others move toward transformation slowly and with great effort, and their next self-realization occurs in fear and terror.

We are the transformers of Earth. Our whole being, and the flights and falls of our love, enable us to undertake this task.

Because of that power of transformation, and the joy of community Lorenzo and I found with our friends at AYWR, we have launched another such blog called sparks and mirrors. We didn't want it to end, that daily dive into waters of discovery, truth and beauty. We want the practice to continue. We will post at our new blog every few days, mostly passages from authors who have themselves opened windows onto the universe within and without, with a few words about how and why they have inspired us. We would love for you to dive in with us there, with a hearty and warmly welcoming splash. (Swimsuits optional.)

I will, of course, continue here with poems, photos, art, music, and whatever else wants to be shared. I am so very grateful that you are in my life, and how we learn from one another.

May the year ahead be awake and alive for you!
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Wednesday, November 16, 2011

Found poem: in the face of death, despair and fear

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I took this [film] photo in the Scottish highlands
in 1980, when I was pregnant with Lesley


I heard Representative Gabby Giffords' halting voice on the radio, recorded for the audio version of her new book. She speaks, she thinks, she attaches sentences to one another (with great difficulty), though she was shot in the head only months ago in a shopping center parking lot. My friend Susie is presenting testimony before Ohio legislators today, asking them to consider, please, not allowing people to text or even use hands-free cell phones while driving, after her granddaughter was killed in August when the driver behind was on her cell phone. I am home this morning and I can't go for a walk for fear that hunters might shoot me. There are dangers all around. How to live, without fear?

As I was thinking about these things, bits of poems surfaced, as if, like whitecaps on a stormy lake, they wanted to be scooped up by the wind, and tossed together in the air. So I have strung together the bits of poems in a found poem. Please see the list of references below, which gives the titles of the poems they are from. By the way, the top lines were posted at the Rilke blog a few days ago, from a poem elegy Rilke wrote to Marina Ivanovna Tsvetaeva, a poet who committed suicide. (Her backstory in the Russian revolution is here.)

When I get to the last lines, by William Carlos Williams, I think of life, and death, in one whole poem of his existence. This is all a mystery, how to live . . .


in the face of death, despair and fear

Waves, Marina, we are the ocean! Depths, Marina, we are the sky!
Earth, Marina, we are earth, a thousand times spring.
We are larks whose outbursts of song
fling them to the heavens.

When the ocean comes to you as a lover,
marry, at once, quickly,
for God's sake!

Tonight as it gets cold
tell yourself
what you know which is nothing
but the tune your bones play
as you keep going. And you will be able
for once to lie down under the small fire
of winter stars.

How can you aim a fire?

The golden sheep are feeding, and
Their mouths harbour contentment;
Gladly my tongue praises
This hour scourged of dissension
By weight of their joyous fleeces.

Practical to the end,
               it is the poem
                                  of his existence
that triumphed
              finally.



(from "Elegy to Marina Tsvetayeva-Efrom (II)" by Rainer Maria Rilke)
(from "No Better Gift" by Rumi) 
(from "Lines of Winter" by Mark Strand)
(from "blue" by Cara Benson)
(from "To a Very Slow Air" by Philip Larkin) 
(from "The Sparrow" by William Carlos Williams)

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Thursday, July 28, 2011

'A Distant City': Moving is done

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The view from Brian & Lesley's new apartment in Michigan;
that's a corn field on the horizon;
see the brown grass, the need for rain;
rain was light while we unloaded the truck,
then it let loose in a full-clapping thunderstorm welcome
when the helpers had gone home

I want to thank you for your kind wishes, thoughts and prayers for the Big Move. They bore fruit. The immense heat broke in a gentle rain Sunday night in NYC, before we packed the truck to the gills Monday. Then the rain held off while we loaded, letting loose again while we drove out of the city that afternoon. The drive through five states, including Pennsylvania, where veils of gauzy mist demurely covered the shoulders of the Poconos, was uneventful and easy. (I fell in love with Lesley & Brian’s VW Jetta, hardly letting Lesley drive; the guys drove the moving truck.) Yesterday, unloading with family in Michigan into their roomy apartment was exquisitely sweaty and leg-aching (third floor, no elevator).

Now the four of us (five with Poppy Seed, who is now the size of an apple; imagine, trading one Apple for another in one day!) are resting and recuperating at the lake for a few days. It is raining on this cottage’s tin roof in the early morning dark. I hear it patting oak leaves that surround us, insisting we stay indoors and sleep: Don’t move unless you absolutely have to. Moving is done.


 Their balcony is more like a porch, deep and partially covered.
Lesley's plants emigrated safely from a NYC windowsill
and now sit bookended by potted herbs and a tomato plant
we grew on the farm. Rain. The plants revel, as we do.


The Queens kitchen they left behind, with its street view;
that's the windowsill where the plants lived
(this photo was taken last year)

In my glad hours, I will make a city of your smile, 
a distant city that shines and lives.

~ Rainer Maria Rilke
from "In My Glad Hours"

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Monday, January 24, 2011

Mind walks

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The Norwegian Jøtul wood stove in the family room (where we spend most of our home awake time -- where I write, read, work on photographs, blog, paint and watch movies) radiates heat into much of the house, and the forced air propane furnace rarely kicks on. We feed the wood stove dead, seasoned wood from the fallen trees that stripe the back acre of the farm. Ash borers have defeated many tall, straight ash trees, and thanks to that tiny, mighty pest, we have some of the densest, longest burning firewood there is, for a long time to come.

On Saturdays, just after sunrise, while snow falls and floats like ash outside the glass deck door, and chickadees, juncos, mourning doves, cardinals and blue jays rise and fall from the ground to the spruce and back again for scattered bird seed on the ground, I put our biggest pot on the radiant Jøtul. Into olive oil I drop chopped onions and celery that quickly begin to sizzle. Then what’s left of vegetables in the fridge, rough chopped, and scraps I’ve saved in the freezer, get added and filled almost to the brim with water. (My gourmand ex-brother-in-law Larry scolded me once for not saving every dear peel, rind, stem and shaving from vegetables in a freezer bag for a Saturday broth-fest; within the scraps are contained the same elements of vegetable goodness. I changed my ways.) For a few hours I cook this potful that’s almost as big as the cast iron heat-box itself, creating tasty veggie stock that I’ll use in cooking for the next week. Cabbage becomes fragrant (!), and the low winter sun shines on the spruce where at least a dozen red cardinals are tucked in the branches, looking like soft, exotic fruits.

Like birds picking up seeds, I have been flitting from pillar to post gathering ideas and thoughts. I feel as if I'm back in college classes, pushing myself to do close readings of the writers I read. They join in the pot of my head like scraps from the fridge. But what soup is being cooked up there? I read passages from Rilke and Rumi at the daily blogs. Synchronously they link arms and walk like twins separated only by centuries. See the parallel lines from the readings posted a couple of days ago:
Rumi: I would love to kiss you.
The price of kissing is your life.  (~ from "The Price of Kissing")


Rilke: I would perish in the power of his being.
For beauty is but the beginning of terror. (~ from "If I Cried Out")

Each day friends come into the comment boxes and reflect on the passages posted in those blog salons, filtering them through their own separate experiences and patterns of thought. Paths emerge, merge, and sometimes lead into dense thickets where I have to focus hard, keep up and try not to get lost. I love mind walks, even when I'm in danger of losing my way. (Have you seen the wonderful 1990 film "Mind Walk" with Liv Ullman, Sam Waterston and John Heard? Nothing but stimulating conversation, while walking around Mont-St Michel . . . ahhhh.) I collect thoughts and words that smell good, and throw them into my pot-head . Does this make me wishy-washy? Maybe. Like water, shaped by the vessel it's in. And what's inside the pot? Fragments of this and that . . . these, and all.
                                                                       
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                                                                                  . . . . .
Steam rises from the pot, walking a ribboning path . . . . .


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Thursday, December 30, 2010

The Interior Castle: Chagall, Rilke & a new Rilke Blog

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Segment 1 of "America Windows" by Marc Chagall, Art Institute of Chicago

In this late afternoon blue winter light, as the window of one year is being shuttered and a new one about to be opened with the flare of a candle, thoughts about an artist and a poet are synchronizing in me.

Segment 2 of "America Windows" by Marc Chagall, Art Institute of Chicago

Wednesday I had the mighty joy of standing in the radiance of Marc Chagall’s stained glass "America Windows" at the Art Institute of Chicago, which he created expressly for the museum out of appreciation. Newly cleaned and returned to the Art Institute in its new modern wing, Chagall’s blues, reds, yellows and pink are as resplendent as they must have been when he completed them in 1977. (If you are interested in learning more about the windows and how Chagall created them out of gratitude for the Art Institute's dedication of a gallery to him, go here; if you ever make it to the Midwest, I feel a trip to the Art Institute is worthwhile for these windows alone.)


Segment 3 of "America Windows" by Marc Chagall, Art Institute of Chicago

"America Windows" by Marc Chagall, Art Institute of Chicago 
(this photo from The History Blog)

As you may have noticed I have been posting a lot of poems by German poet Rainer Maria Rilke these last few months. His focus on the inner landscape is right up my alley, and with every new poem I read, my heart expands a bit more.

What came together for me as Don and I walked the streets of Chicago were the parallels between Marc Chagall and Rainer Maria Rilke. For both men, Russia is incredibly important. Chagall was born there (in Vitebsk, Belarus, in 1887 – he died in 1985), and Rilke (born in Prague in 1875, and died December 29 in 1926 in Switzerland) spent many months there with his dear friend Lou Andreas-Salomé. For Chagall, though he left Vitebsk for Paris and other parts of the world for good when he was 36, Russia remained his soul’s home throughout his 97 years of life. For Rilke, after just a few months in Russia, he claimed it as his heartland and felt that no people understood spirituality more than the Russians. Both men lived through World War I and struggled to make sense of a world in which such a war could happen. Both men migrated to Paris and found intense inspiration from artists there. For both of them, angels populate their work. Chagall’s windows and paintings are sprinkled with angels flying in the skies. For ten years Rilke wrote the Duino Elegies, of which angels are a central theme.

What most impresses me in connecting Chagall and Rilke is how they carried the world consciously in their souls. Chagall left his hometown of Vitebsk, but it was so dear to him that he kept painting it in signs and symbols in many of his paintings, often with his beloved wife Bella as a personal representation of Russia, his soul’s home. Rilke too transformed the stuff of life – things -- into inner material that could remain with him always. And always he was trying to reconcile the true and even dark facts of the world into a harmony of the soul. You can see what I mean in the poem of his I’m posting, below.

In the mind-boggling and cumbersome intensity of the world’s problems bending the corner with us into the new year, I am inspired by these two who continually processed and transformed the facts of the world into the truth of the soul, where our response to the world is what matters. Through creative expressions, we can love this place of ours.

Out of the deep admiration that my friend Lorenzo of The Alchemist’s Pillow and I feel for Rilke’s poetry, and because there is a new volume of daily readings titled A Year with Rilke (translated and edited by Joanna Macy and Anita Barrows), we are launching a new blog containing these daily passages, much like my blog RUMI DAYS, which shares readings from another HarperOne publication, A Year With Rumi. Our blog A Year With Rilke will offer passages of letters, prose and poems of Rainer Maria Rilke exactly as published in that book, except that we will add images to the readings. The blog is live, and daily postings will begin January 1. The following poem will be featured at the blog March 18 and expresses what I have shared today.




The Interior Castle
by Rainer Maria Rilke

Nowhere, Beloved, will the world exist, but within us.
Our lives are constant transformations. The external
grows ever smaller. Where a solid house once stood,
now a mental image takes its place,
almost as if it were all in the imagination.
Our era has created vast reservoirs of power,
as formless as the currents of energy they transmit.
Temples are no longer known. In our hearts
these can be secretly saved. Where one survives—
a Thing once prayed to, worshipped, knelt before—
its true nature seems already to have passed
into the Invisible. Many no longer take it for real,
and do not seize the chance to build it
inwardly, and yet more vividly, with all its pillars and statues.
~ from the Seventh Duino Elegy 




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Saturday, December 18, 2010

Bluebird

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Because of some beautiful experiences with bluebirds (especially this one I posted about), I have paid close attention to them. Being blue, they also represent the throat chakra, the energy devoted to communication. Their quiet nature and melodic song resonate with my own inner call. I found the card in the photo above at the bookstore yesterday on my outing with Inge and knew I just had to have it. It's a Mountain Bluebird. The second photo, below, is an Eastern Bluebird. The third is a porcelain my sister Nancy gave me; he sits on my dressing table near a candle I light every morning. Do you feel a strong affinity for a certain animal? Here's a little poem about mine, with some first words of Rilke's.




Bluebird

What I lay claim to
is like anything

unpossessed
by anyone

yet on I go holding
the ache of blue

he empties in scalloping arcs around
the stubbled meadow

blue eye
in the eyelids of branches

witnessed
just a few times a year

cheer of song
the animal voice

I decided was mine one weightless day --
-- my spirit guide --

telling the truth
through the branched world
of my throated heart

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Listen to a podcast of this poem here.
By the way, I just viewed my blog in Internet Explore on my husband's computer (I don't have IE on my Macbook), and the formatting is in disarray. I wonder if this always happens in my posts. It must be annoying to view, if so. So sorry. I always post and view in Firefox or Safari.
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Saturday, December 11, 2010

Both a Breath and a Shout

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Liu Xiaobo's empty chair at the Nobel Peace Prize ceremony


For the record:
Thank you to the powers that be and have been these two hundred thirty-four years. For being able to use words the way I want. For John Milton, John Locke, and John Stuart Mill. For Noam Chomsky. (Even for Julian Assange?) For Rainer Maria Rilke who wrote: "Maybe we're here only to say: house, / bridge, well, gate, jug, olive tree, window — / at most, pillar, tower ... but to say them, remember, / oh, to say them in a way that the things themselves / never dreamed of existing so intensely." For all words spoken and written. For blogging. For Blogger! For free, and for freedom. For you. For me. And especially today, for Liu Xiaobo.

Both a Breath and a Shout
by Rainer Maria Rilke

I want to praise him.
Loud as a trumpet
in the vanguard of the army,
I will run ahead and proclaim.

My words will be sweet to hear.
My people will drink them in like wine
and not get drunk.

And on moonless nights, when few remain
around my tent, I will make music as soft
as a last warm wind that hovers
late and tender before the winter's chill.

So my voice becomes both a breath and a shout.
One prepares the way, the other
surrounds my loneliness with angels.


~ from The Book of Hours, 1899-1903
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Tuesday, December 07, 2010

The way I want Christmas

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     The way I want Christmas is withdrawn, but attentive, and giving. Like a woman. During holiday hullabaloo the thrusts of commerce, and even sometimes of the church, impose upon the quiet of inner space. Any day of the year, whether in a state of joy, sorrow, or even turmoil, I want to rise and fall gently on the day's currents--nose flared, eyes raised, hands unclasped, ears unlocked. But some of the air is raucous, rank, deafening, false, and deadening. At home I pull down Christmas tubs and unsnap lids. Out with the ribbons and glitter spirals the remembered scent of oranges studded with cloves. It is a woman’s fragrance, the earth. My mother.

     And out comes the 1955 Christmas songbook, dull matte blue with worn embossed singing angels on the cover, its spine reinforced with duct tape by my father. Mom’s dark eyes ignite in candlelight at the mahogany piano, and blue-ridge vein rivers roll over her knuckles while she plays Go Tell It on the Mountain. Hip-to-hip on the needlepointed piano bench we sit where she has also taught me to play in hours of tearful frustration. But as if turning out the lamps and lighting the tree and candles illuminates a different piano and alternate faces, during these easy-going Christmas carol hours there is no tension, no mother-daughter resistance or pride. She plays and plays, and I sing, and turn the page to the next. The music floats in flakes of effortless snowfall. Many songs are foreign, strange, and special, never appearing in a church hymnal. They are haunting in their folk lyrics and minor keys. They are of woods and tender brown animals. They bloom with holly leaves and stars. They rasp with bagpipe and fiddle. They are blue, cold nights of Croatian shepherds, French rushes of wings, and a hand hewn rocking cradle of Czechoslovakia. They are whisper-sung by a woman in front of a fire, baby at her breast, fat cheeks aglow and rosy-warm, drinking the quieting calm that streams from inside a woman. Christmas is my mother’s lullaby.


TO SAY BEFORE GOING TO SLEEP

I would like to sing someone to sleep,
to sit beside someone and be there.
I would like to rock you and sing softly
and go with you to and from sleep.
I would like to be the one in the house
who knew: The night was cold.
And I would like to listen in and listen out
into you, into the world, into the woods.
The clocks shout to one another striking,
and one sees to the bottom of time.
And down below one last, strange man walks by
and rouses a strange dog.
And after that comes silence.
I have laid my eyes upon you wide;
and they hold you gently and let you go
when something stirs in the dark.

~ Rainer Maria Rilke
(from The Book of Images, translated by Edward Snow in 1991)


Sleep, little Jesus, my treasure, my blessing,
While Mary comforts Thee, tender, caressing.
Lullaby, little one, in loving arms lying,
Guarding my darling and stilling Thy crying.

~ Polish Lullaby
(translated by Henry W. Simon)
from my mom's Treasury of Christmas Songs and Carols,
which I posted about previously here

Please listen to Edyta Górniak tenderly whisper-sing this lullaby in Polish, 
called 'Lulajże Jezuniu', here

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Saturday, October 02, 2010

Cézanne: Love the Apples

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Rainer Maria Rilke, letter to Clara Westhoff
Paris Vie, 29, rue Cassette
October 13, 1907 (Sunday)


Today I went to see his pictures again; it’s remarkable what an environment they create. Without looking at a particular one, standing in the middle between the two rooms, one feels their presence drawing together into a colossal reality. As if these colors would heal one of indecision once and for all. The good conscience of these reds, these blues, their simple truthfulness, it educates you; and if you stand beneath them as acceptingly as possible, it’s as if they are doing something for you. You also notice, a little more clearly each time, how necessary it was to go beyond love, too; it’s natural after all, to love each of these things as one makes it: but if one shows this, one makes it less well; one judges it instead of saying it. One ceases to be impartial; and the very best – love – stays outside the work, does not enter it, is left aside, untranslated: that’s how the painting of sentiments came about (which is in no way better than the paintings of things). They’d paint: I love this here; instead of painting: here it is. In which case everyone must see for himself whether or not I loved it. This is not shown at all, and some would even insist that love has nothing to do with it. It’s that thoroughly exhausted in the action of making, there is no residue. It may be that this emptying out of love in anonymous work, which produces such pure things, was never achieved as completely as in the work of this old man; his inner nature, having grown mistrustful and cross, helped him to do it. He certainly would not have shown another human being his love, had he been forced to conceive such a love; but with this disposition, which was completely developed now, thanks to his strangeness and insularity, he turned to nature and knew how to swallow back his love for every apple and put it to rest in the painted apple forever. Can you imagine what that is like, and what it’s like to experience this through him?

I'll get to this letter of Rilke's in a sec.

In my early days of writing, writer and poet (also art historian and critic) Rainer Maria Rilke’s Letters to a Young Poet spoke soft and clear: Go inside yourself. That has stayed with me since those days in the early 1990s, along with William Everson’s Birth of a Poet, and many other writings that focused on a similar theme. Go inside. Go inside the subject, and go inside myself.

The Austro-German Rilke wandered across Europe much of his life, and for the decade from 1902 to 1912 or so, he lived in Paris, working on a book about the sculptor Auguste Rodin, and as his secretary for about a year of that time. Living among the Impressionist artists of the Paris Salon transformed Rilke and his poetry, filling him with a desire to "apprehend the very essence of things," eventually resulting in his "object poems". Besides Rodin, perhaps Paul Cézanne had the biggest impact on Rilke and how he viewed art and the world of artistic expression. It was Cézanne who more than any other painter was a bridge between the Impressionists of the late 19th century and the Cubists of the early 20th.

Rilke was married to sculptor Clara Westhoff (who had studied with Rodin) though they separated in less than a year, and he left her and their daughter Ruth in Worpswede, Germany to live in Paris. While he was there he wrote her letters, enough letters about Cézanne alone to fill a book. The quote that opens this post is in one of the letters. My paraphrase of that paragraph is: When Cézanne painted, he wasn’t saying in his paintings, See how I love the apples; here, love them too. He just . . . loved the apples. That love exists in the paint, in the pulsing colors, in the bold smears and layers laid on by his palette knife, as real as the apples themselves.

Love is attention. What does it take, to spend a life paying attention to apples, arranging them in countless still lifes? He even told his human subjects who sat for paintings: Be an apple.  As writers and artists, are we overly worried about production, recognition and accomplishment? What would happen if we just love the subject we are portraying? Pay attention to it so closely that we are it. How can something pure and vibrant not come of that?

I owe a debt of gratitude to Marie Howe for her recent interview in The Writer’s Chronicle (sorry, the interview is not online; it is in the hard copy May/Summer 2010 issue), which inspired this post and the rumblings of many things inside me. She said profound things about poems, among them: "What mattered to me was not a book of poems but a poem. Each poem. One poem. It was a world. You know what happens when you read a true poem. It sees you, you see it. . . . It's love, really. Recognition and love. . . . To write one poem seems to me worth living for." 

I leave you with a gallery of Cézanne's apples.


Four Apples

Apples and a Glass

Apples on a Sheet

Still Life with Plaster Cupid

Still Life with Compotier

Apples and Biscuits

Apples and Napkins


 Apples and Oranges

 Dish of Apples

Still Life

Still Life with Apples and Pears

Still Life with Apples

Still Life with Apples (2)

Still Life with Apples (3)

Still Life with Apples (4)

Still Life with Apples (5)

Still Life with Soup Tureen

Still Life with Milk Can and Apples

Rilke's letter to Clara found in Art in Theory, 1900-2000, an anthology of changing ideas, Charles Harrison, Paul Wood

All apple paintings found here

There is a beautiful article about Cézanne's impact on art, at the Smithsonian here.
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