Capler

The Wye, South Herefordshire. Photo by me.

 

Hey you, who abandoned me at life’s worst moment; who lied to all of us. Who told me of a love, un-encounterable to most. The path that cut steep down through red soils was lined by light. Tiny stars of wood anemone watched over my eager feet as I moved down through the bluebells having their first conversations with the early bees. All seemed so narrow, a weight, but with an unfurling canopy of shock-green saving me from a complete molten, lead sky.

 

But at the base, where woods fall literally into the river, the sky came in with a bright summer blue, and I stopped to take a deep breath. Breaths are gold, each one, even on ventilin. The river moved like a sliding plate of silver down the table, pausing by me, almost stationary, to hear an ornicophony of riverbirds, and the faint shriek of peregrine somewhere high above. Remember, you asked me to write a poem.

 

Everything opened up to me at this place, Capler, and to everything, flowing through my veins and into my lungs and to the lips. This was what I came for. To try to heal.

 

I’m suffering again, not in your arrogance, in your image fixed into the eye of red-bellied black snake (poor snake), but a realisation that a lifetime of my own difficulty here at my desk, might be a neural difference, an unbidden mindset, unseen and unfelt by all who have tried to help me until now. I don’t like the terminology (this is a symptom too), though I sometimes give too much of my attention, and am hardly inattentive to others. But it only takes a hairline fracture to let the light into pitch black.

 

The DNA-flow of great grandmothers, grandmothers who died by their own hand, mothers (me), daughters who swim beautifully but who still feel they are drowning ~ I just thought this is what it meant to be a woman. To be let down by men.

 

Apparently, only a few are weighted by this “attention deficit”. The anxiety that has ripped through all life’s traumas—there have been many, about as many men in our lives—I just thought we were sensitive. Perhaps, that’s just all we are. It’s hard to contemplate another turn of mental anguish ~ I’ve only just come off the pills.

 

So the path swings left as the river widens into the most exquisite vista to the south, the Wye leaning into a high slope of woods, carving the opposite bank where thick Herefordshire farmland sits heavy. There’s a grandmother over there, with her granddaughter, and they are throwing pebbles in the stream. Bredwardine memories stop me still and then empty me.

 

Butterflies filled me up ~ at least six species; little flighty wings got my attention. I sat among them for a moment, down in the undergrowth, smiling with them. How do you tell a butterfly she is beautiful? Then the path sunk into the bedrock cascading in steps to where the salmon try to run old Ballingham, where the proto indo european rip of riparian—that deep climatic tear—is plain for all to see. More butterflies lay prone on the rock, soaking in the heat. I felt lost there, truly lost in that most profound, good sense.

 

When I came to my other senses, where dream-brain switches into task-brain (as I am now told), I followed a bee into a wide holloway, pushing up into the steeps under Capler Hill Fort, and into a vast auditorium that would have blown your mind.

 

Ravens sounded their wings in circles above me (put that sound in my pocket and save it for later). Giant red-tailed bumblebee queens looked like tiny ants as they rustled their buzz under dry, tongued ferns. All the passerines from all over the Earth were here it seemed, super-high among the quarry-top trees. One oak lay crashed down at the bottom of the cliff, fallen from the topsoil that looked so thin at the top. Another big tree that looked small because of the scale dangled precariously, its roots like tentacles feeling the air. All life is so reliant on that thinness.

 

Then, to hear a slow-rising noise, the shallowest anthrophony of cessna above, of brightly coloured canoe-shouters in the channel, and a sit-on-lawnmower droning slowly towards me. Here, at this place! I could hardly contain my anger. I talked to him later when I’d cooled down, about grass clippings and river ecology—they don’t mix—and he talked to me about keeping things tidy for the tourists, and the fly-fishing licenses; saving the kids from being stung by nettles (I laughed out loud); saving Earth from the scourge of balsam. And litter, to be fair. Even a Ford Capri. And I thanked him for that.

 

I walked back alongside his engine, and we stopped to listen to the noisy peregrines eyeing two-day old ducklings swimming the big, scary river, in little flurries.

 

The man told me the quarry I’d found may have been the source of the red sandstone that is now Hereford Cathedral. A hole in a hill the size of nine hundred years. These peregrines live there now, perched on the quarry ledges. Peregrines also hunt their quarry around the Cathedral tower.

 

I think I found a feather of a female the other day near the remains of a dead pigeon. It’s pinned to my notice board for me to admire the inward beauty of her. Like a shock.

 

Then one flew right over me casting avumbra. And that was the healing moment of the day. The silence of avumbra. I came home wanting, by the habit of four years, to tell the image of me in the mirror ~ you. I wanted to tell the other one too, the earliest bud of cherry blossom, but he’s just told me he found someone else, before the flowers have even fallen to the ground.

 

~~~

 

 

For the love of imperfection

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“When one has once fully entered the realm of love, the world ~ no matter how imperfect ~ becomes rich and beautiful, it consists solely of opportunities for love.”
~ Søren Kierkegaard, Works of Love

My walking boots have taken me downstream lately, to several water meadows,
where tall, riparian vegetation and dependent insect life ripple to breezes like shallow, verdant seas. As I kick along deep troughs formed by smaller mammals, Skipper butterflies shimmer forward from their lofty look-outs and out to either side. Before they settle, they tussle for the top spots, as butterflies do whether I am present or not, in an extraordinary aerial display of defiance and speed. I love watching them. I love their tenacity, though they sometimes pay for it in broken wings and missing antennae.

Wabi sabi is commonly interpreted outside Asia as recognition of the value of visual imperfections in the nature of the age-worn, crackleature and objects weathered by the elements. We may find physical deterioration artistically satisfying, joy in the uniqueness of things by their flaws. For example, I once received a brand new picture frame in the post. When I opened the package, the wood was dented, having had some kind of tussle with a mail-train door (I would imagine). I kept that frame rather than return it, admiring the dent as Zen-like and unique, whilst saving logistical resources at the same time. I look at the damage now, framing a print of a snow leopard high on a Himalayan cliff, and smile.

Wabi sabi, as a Japanese aesthetic ideal however, is far richer in meaning than these superficial flaws. The visual cues are a mere scratch at the surface. There are deeper, emotional stirrings in action, and even the Japanese find few words to describe them. “Consciousness transcending appearance”, an acceptance of a form of “atmospheric emptiness”, a wistful mix of loneliness and serenity whilst garnering a sense of “freedom from materialism”. At the same time, there’s an inherent weight or mass in meaning and intent. Wabi sabi may be more of a ‘doing’ word than many might think.

You’ll already know, wabi sabi is not an aesthetic commonly adopted in marketing strategies. We are courted to pay for perfection from an early age. Our faces, our houses, lawns and cars must be in impeccable order, blemishes neither tolerated nor encouraged. Ageing skin or chaos in nature are hard to bear for these gurus with money boxes to fill. Even landscapes are airbrushed, in reality and in symbolism. Foundation creams and herbicides come to our “rescue’ and at a cost (beyond money).

Neither is imperfection the culture of nature photo competitions. A shot of a broken butterfly wing, no matter how atmospheric, would rarely pass first round of elimination. Cherry blossom and autumn leaves might be celebrated, of course, but only in full glory and not when run into a road or pressed into the mud of a woodland trail. Some attention is paid to transience and impermanence, but dying, death and bodily decay are certainly off the menu.

Such a relentless pursuit of sublimity is a competition all life is bound to lose. We are constantly being set up for a fall. Non-human life should not have to measure up to such false, anthropocentric standards. Life is a tussle, and so few are left unscathed. Broken wings and missing antennae are common place. We may love these beings as we love our own, warts and all, for they are our kin.

“Wabi sabi” are two kanji or Chinese characters shared by the Japanese and Chinese language. Originally, wabi 侘 meant ‘despondence’, and sabi 寂 meant ‘loneliness’ or ‘solitude’. These are emotions not portraits or landscapes, vases or tea cups. Ancient Chinese artists and writers ascribed to the aesthetic long before it was brought to Japan via Zen Buddhism and the Tea Ceremony, though classical literature, brush painting and poetry have been key to its development as an ideal and interpretive device.

山寺や
撞きそこなひの
鐘霞む
From a Mountain Temple
the sound of a bell struck fumblingly
vanishes in the mist

(haiku by the 18th C Japanese poet Yosano Buson (与謝蕪村) )

Whether one is an artist or a lover, mechanic or a parent, we attempt to communicate our personal understanding of such deep, private emotions with the ones we care about. And when we are at our most transparent and authentic, we succeed. This can take courage, of course. Our flaws are perceived by the sensibilities of our patrons and/or loves and, with fortune, are accepted unconditionally. If we fake it, we invite alienation and regret. We can learn to love all imperfections as “rich and beautiful,” and there will be endless opportunities.

Wabi sabi exists of the organic as well as the inanimate. On a dark, rainy day, skippers are subfusc, well on their way to becoming a constituent part of the soils of the flood plain. When the sun shines, they are transformed into brazen flames of orange, flickering and fully alive. Remind me to take beautiful photos of them on those duller days, with their broken wings and missing antennae ~ I will be richer for it, in all that is love and serenity.

 

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