Yesterday was watered down in rain but the sun peeked out this morning. It’s fun being out and about in a drizzle if you find Rhododendrons along the path. This time I managed to photograph almost all the varieties there are, but the Plant Identification App I used has been unable to explicitly identify the species or cultivar. In any case, they vary from Rhododendron simsii, R. ferrugineum or Alpine rose, R. indicum, R. calendulaceum or flame azaleas and are a riot of colours.
Simply some Haiku today, I couldn’t manage an epic 😄 Here is a great resource for a glossary of Haiku . For an exploration of Senryu, I found this quarterly journal of Japanese short form poetry, very useful .
Clouds eclipsed by Sun. Rhododendrons are simply, light hidden in hue.
Bright flowery boughs illustrate a fragrant love on dark moonlit nights.
If this be colour of chastity, then I must promptly turn flower.
Alpine rose outshone Bathsheba in seducing King David perhaps ...
Flowers simply are method to manoeuvre time to hours of hue.
One of the simplest stitches to embroider with, is the straight stitch. It is most useful in joining fabric, mending a rip and even darning. In Japan, Sashiko is a form of needlework to reinforce fabric through the basic straight stitch, in a variety of patterns. There is something beautiful in mending and Sashiko has taken a spiritual dimension for some.
Melanie McGrath wrote a wonderful lockdown essay last year, on how Sashiko can help mend a frayed world, help women compensate in small measure for the depradations of aging, achieve a sense of beauty in the incomplete and the imperfect. Sashiko exemplifies, she avers, the principle of Wabi Sabi. It celebrates the repair of a rip, helps locate beauty in a mend.
I think the poem worked it’s way around to framing questions to the answers already inherent in Sashiko and Wabi Sabi. It inspired me to begin writing about this last year but I never got around to finishing this poem that has seen countless revisions.
The inspiration for the poem came from the chikankari embroidery of Lucknow, India, as much as from Japanese Sashiko and Wabi Sabi. Both employ the straight stitch.
Process and Form:
Fabric becomes a metaphor for spirit in the poem as well as for the body or the heart. I had written it as a prose poem earlier but later moved to free verse and then again to prose. I now think it’s simply a work in progress until I get the philosophy of this in order. It begins as it ends, with a series of rhetorical questions. It holds solutions of Sashiko to healing what is hurt in the physical or conscious realm, such as the body, the mind or heart, the issues all of our humanity faces in the course of a single lifetime , yet there is something else besides our working conscious and subconscious or isn’t there? If there isn’t, life then would feel simply like a limitation. Perhaps, I’m unable to articulate right now this nascent line of thinking but in time …
Can a fish drown or a butterfly gasp in the wind /
Scars fester under the gauze of a smile / as the candle wax of youth drips steady in a strange economy / distraught minds melt into a stream reaching to oceans for a salty dissolution / or bruised bone, brines in the salinity of time //
Isn't time simply a callus over passions / an assortment of calluses / and love seems an ephemeral thing, lost in euphemisms / that help stitch sonnets in traumatized tissues of birth / or weave stitches in tercets to erase carcinoma that create maps of the cosmos on skin / Torn unwieldy feelings are elegies cobbled with tatting needles to create a Frankenmonster / that wants to find and punish it's maker / as it reaches back for us in a cold and callused heart, that's a torn limb become wound wood / sequestering in those dark spaces, buried treasures of pungent memories or medals of honour in the life scars we flaunt //
The sun, arbitrates mortality and stills the breath / We are creatures of habit hitched to this solar arc / or the madness of lunations / and posses no philosophy to life until facing our own demise / or the carcass of our dreams washed to the shores of time / To graft a body, to darn a heart or hem the mind is simply a straight stitch that points to sunrise / the pacemaker of a day unravelling the knots of the night //
Yet, how does one Sashiko the spirit as it disintegrates to ash / Does it lay there withered in it's silent demise / exhaled by the wind to unworldly whispers / never knowing itself or how it spirits into flesh / How does one mend a soul that it may love to live or live to love or become love or become life //
I believe the last verse turned a bit sad this morning since a friend lost her brother to COVID and she spoke of a man beloved of his community, who had to be buried in the absence of one, without the accoutrements of a proper burial. There have been more deaths than can be handled in her city, with no undertakers nor priests, families under lockdown unable to console each other. Yet, she wondered of all the plans she made with her brother for a future that he does not have anymore.
Embroidery has always held a special place for me. My grandmother loved to embroider. I have embroidered quite a bit to create beautiful patterns in thread, but Sashiko is about elevating damaged fabric and it’s subsequent repair to a place of beauty. I like the premise of this, in that it engenders healing. It’s truly a Sashiko mindset that requires we rework the patterns on a frayed spirit, innovating on the spiritual canvas so to speak, a different blueprint of stitches for reinforcement of the self to a place of compassion for ourselves and others. Yet, I do wonder of the consciousness we are imbued in; how does this spirit or soul mend, if it exists, if at all?
This poem is for my beloved niece, the only person I can think of, who gardens in a tutu. I adore the way she has begun to thread together complex sentences, now that she is three.
I found some impressive Macramé creations (photos further down) at a store and thought to inveigle this art into the poem somehow. It adds to my terminology of thread crafts that I have tried to use in my poetry. It must be a highly meditative effort for those that knot yarn or twine into an elaborate aesthetic.
Enjoy the poem and thank you for reading.
Earth sought succour in root and in the arrival of a pink ballerina / a shortcrust* of yearning crumbled in mud, awaiting that sandy renunciation / to be scooped and patted like loam clay into a concrete planter / This little girl is awash in the business of making mud pies or earth flan / and are they not nursery rhymes she gurgles at the English weather / darkened, of thunderous portent, yet its stiff upper lip quivering in a slow rumble//
She loops time into a Larks head for Macramé / and in the tapestry of minutes spent sifting sand, moulding clay / they work their way into square knots and clove hitches, those ringing voices of rain clouds that traipsed within hearing / while she was alone at play, when dipping a promise of pink roses into the soil, trying to pot seasons into place//
She is transfixed by the tones of these Aeolian charms / frightfully delighted that they resonate in a symphonic choral with her /singing of mirthful gnomes, of winged fairies, scurrying field mice, musical robins, thieving magpies, startled bolts of lightening / and perhaps of love being the sameness of loam found in every forest throbbing with root reaching root//
Yet the burgeoning crescendo lacks timbre of the flowers that have not yet bloomed on the sameness of leaf / that are a blur of mystery plants awash in green / There, in this leafy overwhelm, she bellows a tantrum across the Atlantic that I can hear / for she is a fledgling gardener and what use is taxonomy in mud play//
She gurgles rhymes to placate the thunder / to outshine the sun / and finds the lexicon is of limited skein, a finitude of hues in the spectrum / even as the legionnaires of weather rush to patent the syllables of love's petrichor, consonants of battling clouds, vowels of weeping skies / selfsame synonyms ricocheting in unison//
She is unafraid to rhyme in synchrony for the notes disperse in a swollen rain cloud showering poems / In this garden, she can be the sweetest thing for she invents love, as she pirouettes around rose bushes, clematis and tulips / with a soil scoop in one hand, a wand in the other, to ensure it is indeed magic she does//
Process and form:
I worked from a photo that’s been edited to a painted style, so this should count as a narrative and Ekphrastic exercise perhaps.
Macramé knots mentioned in the poem :
In Macramé, a lark’s head knot is used to attach a cord or thread to something .
A square knot is one of the most widely used Macramé knots and it can be created as left facing or right facing. Square knots need to have at least 4 cords (2 working cords and 2 filler cords) but can have more.
A Clove Hitch, also called a Double Half Hitch, creates lines in a Macramé projects. They can be worked horizontally, diagonally, and on occasion, vertically.
How to Macramé: 7 Basic Knots to Master~https://www.thesprucecrafts.com/basic-macrame-knots-4176636
*I am compelled to add this shortcrust pastry recipe inspired by David Lebovitz. He has happy anecdotes to share of baking in France and his recipes are simply elegant
For the tart dough 6 tablespoons (3 ounces, 85g) unsalted butter, cubed, at room temperature 1/4 cup (50g) sugar 1 large egg yolk 1 cup (140g) flour 1/8 teaspoon salt
1. Make the tart dough by mixing the butter and sugar together in a stand mixer fitted with the paddle attachment on low-to-medium speed, until combined, about 1 minute. (But do not whip.) Add the egg yolk and mix on low speed for 30 seconds. Mix in the flour and salt on low speed, until the dough comes together. If necessary, add a sprinkle of water if the dough feels too dry. Don't overmix it. (I often stop the mixer before the dough is done and mix it by hand, to avoid overmixing.)
French Apple Tart (Tarte normande)~https://www.davidlebovitz.com/aux-pommes-french-apple-tart-tarte-normande/
If there were only one kind of apple on earth, it would have been simple, but in the complex tapestry of cultivars there exist 7,500 kinds of apples grown throughout the world and 2,500 varieties in the US alone . It’s incredible how insatiable our appetites are for novelty and this is only apples.
In the complexity of existence, can one ever aim for simplicity if it means having only one kind of apple for eternity. That apple too, forsakes its form in our kitchens, crumbles into a dessert, disappears into pie, is crushed to oblivion in a smoothie, jellied into a preserve or unmoulds as a tarte tatin.
I made one, a tarte tatin or an upsidedown tart for our guests last evening. I enjoy cooking and the creative endeavour involved in food, even so, it made me wonder, as it did in this case, if the apple tastes better when it is no longer an apple …
In the transmutation of an apple, a fruit tastes passion in a steamy kitchen. A cup of sugar sits quietly on a pan, melting in tears until I remember to take it off, salve it in five tablespoons of cold butter, to the whisking of a caramelized fate. This must be chemistry in a kitchen.
Nine Gala apples, cross bred clones, shed their skin and split to hold shape in that molten lava frothing like Vesuvius on the stove. It takes ten minutes for a youthful apple crisp idealism to retire into the cloying influence of worldly caramel.
Two cups of floury expectations amalgamate one stick of cold chopped butter, like a lesson to be learned, some salt, sugar and some cold water to soft crumb into a tantalizing fate, take some punches, pull together, chill for a while and then roll fine and round like a cotton moon.
An hour, perhaps less, for those apples to stew under cover of this floury sheet in a cast iron skillet. They will ponder here of the sin they were charged of, the temptation of Eve, except that there weren't any apples in Eden. Their only knowledge is of the minimal sugared cyanide in their seeds, the exuberant crisp of their sweet flesh, the blush of their skin. Damned for the fate of Snow White, sleep inducing apples are simply poisoned narratives.
And here, in a kitchen, it's an exorcism of sorts, when I tip the pan over a plate to reveal the alchemy. An apple no longer an apple but a ghost of its past in the spirit of the future.
Process and form: I chose narrative style and free verse for this poem along the lines of a visual story telling. Philosophical questions thread the narrative. Related perhaps is an anecdote shared with me by a couple of friends, who had once trekked through Amerindian villages near Mt. Roraima. They spoke of hamlets separated by a river, one that consumed a variety of snail which the others across the river avoided, despite it being abundantly available in their area. This is perhaps an answer to conservative simplicity with a snail commonly found in the central rainforest. If they had a few more varieties they could have all had escargots à la Roraima in cassareep, and in a way make simple snails highly complex.
Notes: Apple seeds (and the seeds of related plants, such as pears and cherries) contain amygdalin, a cyanogenic glycoside composed of cyanide and sugar. When metabolized in the digestive system, this chemical degrades into highly poisonous hydrogen cyanide (HCN) 
You would need to finely chew and eat about 200 apple seeds, or about 40 apple cores, to receive a fatal dose. The Agency for Toxic Substances & Disease Registry (ATSDR) says, that exposure to even small amounts of cyanide can be dangerous 
Vaccination brought to mind, strangely, thoughts on ambidexterity. When one arm feels a bit leaden after a jab, how does one go about doing with the other, that which seems impossible. As per research, being born ambidextrous can be disadvantageous for cognitive functioning, especially for arithmetic, memory retrieval, and logical reasoning, besides it has been associated with difficulties in language too. Yet, it isn’t clear if training towards ambidexterity would also cause the same issues as being born ambidextrous does 
On a positive note, it is quite possible to train ones non dominant hand to become more proficient, as in a concert pianist skilled with both hands, but whose mastery is complementary rather than competitive . Some random thoughts at a vaccination and a poem thereafter …
You are one step closer, say stickers in red, on a floor burning it's way to needles.
Unpeopled lines criss cross, one to medication another to a woman in a white lab coat
against a wall, papered to impress or assure , etched in beakers, pipettes, bunsen
burners in blue. Here, swabs, syringes and two arms to choose from.
"Which do you prefer", she asks, seated at my left and I look to my right
at my BCG scar. Suddenly, this seems painfully sore. "Left", I say,
besides, "you are closer", I think. My right arm needs to lift the dutch oven
and to write, brush my teeth, chop onions for biryani and ouch, there aren't any tears
only a needle I felt, like her unsmiling or resigned face. She must feel tired poking dozens
of people for no fault of their own so I wished her a great day and all that,
then took my place on a seat among people moping over their big bright
phones, for my fifteen minutes of pain or not, as I am distracted easily and this
is a pharmacy. Here I am in the section for adult diapers with a vantage view of incontinence. Que sorte!
I wrote this poem in response to a prompt by a fellow instagrammer, to write about an animal or wildlife. I chose the wild in the microbial.
Blepharisma, Vorticella, Cyanobacteria / blue-green algae, Stentor and Volvox feature in the poem today, inspired that I am by the antics of these organisms in the work of another instagrammer. In her microbial world, microbes dance to strange rhythms, cannibalize, reproduce, scavenge, lay eggs, moult, become anxious, sometimes just sidle up to each other or simply float. Find the photos on Instagram.
The diagrammatic version of Blepharisma is my squiggly art. The other species mentioned in the poem are Vorticella with the spring coil and are attached to a substrate. The Stentors are motile and have cilia for locomotion. The blue-green algae or cyanobacteria resemble fettuccine in spinach flavour and the Volvox are a constellation of sorts.
Cilia are used in locomotion but ‘Ciliating’ is my singular stupendous contribution to the dictionary 😃 and will someday be used in Scrabble.
We thought of us today as single cells 'Ciliating' across the universe of colour under the coverslip of time; a microcosm of pedalling plants or fettuccine of cells.
The hues of darkness are pink and bright, in beach slippers tracing paths on glass, and those springing Vorticella are flowers we created in our fictions of science ...
But all possess a veneer bound cytoplasm of affection, crawling like Annelids across the void in a world bursting in avatars of the invisible
or their transparent real selves glowing like gemstones in the sky, or simply opaque as we are, each to the other under the play of light,
polarized views secreted within some dark muddied pond, harbouring the cells of love, shedding cuticles of sorrow, laying the germ of tomorrow
or funneling delight in little green globes that make food ... are food. We must be blessed to be cytoplasm like them or cursed, I don't know which, but it's all profound.
Note: Blepharisma is found in fresh and salt water, is a unicellular ciliated protist and is pink due to the presence of the photosensitive pigment, blepharismin. These pink creatures are photophobic, seek out darkened areas and lose their colour or die in strong light.
Vorticella is a ciliated protozoan with a stalk that is made up of a contractile organelle which serves as a molecular spring, so it can contract. This organelle or spasmoneme is said to have a higher specific power than the engine of the average car.
Volvox is a green algae that forms spherical colonies of up to 50,000 cells and live in freshwater habitats.
Cyanobacteria are Gram-negative bacteria that obtain energy via photosynthesis, also called blue-green algae but aren’t eukaryotes like algae.
Stentors are among the biggest known extant unicellular organisms and also ciliated.
Annelids belong to phylum Annelida that includes earthworms, leeches and the microscopic polychaete worms, oligochaetes.
Cytoplasm is the jelly like substance within the cell membrane,.excluding the nucleus. All together, they make the protoplasm of a cell.
The video link arrived in newsletter earlier that helps appreciate the many ways to see a microbe, and how a single creature can appear different depending on the microscopy method used to capture it through a manipulating of light.
There’s no one way a microbe looks, only different clever methods to see it~https://youtu.be/VBmzwM76V0o