The grower of tress, the gardener, the man born to farming,
whose hands reach into the ground and sprout,
to him the soil is a divine drug. He enters into death
yearly, and comes back rejoicing. He has seen the light lie down
in the dung heap, and rise again in the corn.
He thought passes along the row ends like a mole.
What miraculous seed has he swallowed
that the unending sentence of his love flows out of his mouth
like a vine clinging in the sunlight, and like water
descending in the dark?
The Man Born to Farming by Wendell Berry
Here we are, in our winter greenhouse, on January first. Unveiling the hardy greens that have survived the cold nights. This is the perfect place to begin our year together. Side-by-side. Grounded in home.
“I think it makes a huge difference, when you wake in the morning and come out of your house, whether you believe you are walking into dead geographical location, which is used to get to a destination, or whether you are emerging out into a landscape that is just as much, if not more, alive as you, but in a totally different form, and if you go towards it with an open heart and a real, watchful reverence, that you will be absolutely amazed at what it will reveal to you.” — John O’Donohue
“Dog is docile, and then forgets. Dog promises then forgets. Voices call him. Wolf faces appear in dreams. He finds himself running over incredible lush or barren stretches of land, nothing any of us has ever seen . . . Dog promises and then forgets, blame him not. The tooth glitters in the ridged mouth. The fur lifts along the spine. He lifts a leg and sprays a radiant mist over a stone, or a dead toad, or somebody’s hat. He understands what is wanted; and tries, and tries again, and it good for a long time, and then forgets.”
— From “Dog Songs” by Mary Oliver
I’m catching up on photos from this glorious month, and I’m going to let Mary Oliver do the talking tonight . . .
In Blackwater Woods
By Mary Oliver
Look, the trees
their own bodies
are giving off the rich
fragrance of cinnamon
and long tapers
are bursting and floating away over
the blue shoulders
of the ponds,
and every pond,
no matter what its
name is, is
I have ever learned
in my lifetime
leads back to this: the fires
and the black river of loss
whose other side
none of us will ever know.
To live in this world
you must be able
to do three things:
to love what is mortal;
to hold it
against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go.
I’ve shared this poem before, haven’t I? Here it is, again.
How it stands out against the darkenings
of the rainy evening, young and pure,
its tendrils arched everywhere in givingness
yet absorbed in its own rose-being;
the shallow flowers, already open here and there,
each unasked for and untended:
thus, immeasurably exceeded by itself
and indescribably self-aroused,
it calls to the wander, who in his evening
meditating comes past along the road:
Oh look at me, see, over here, how safe I am
and unprotected and having all I need.
— Rainer Maria Rilke
Ich bin, du Ängstlichen, Horst du mich nicht
I am, you Anxious one.
Don’t you sense me, ready to break
into being at your touch?
My mumurings surround you like shadowy wings.
Can’t you see me standing before you
cloaked in stillness?
Hasn’t my longing ripened in you
from the beginning
as fruit ripens on a branch?
I am the dream you are dreaming.
When you want to awaken, I am that wanting:
I grow strong in the beauty you behold.
And with the silence of stars I enfold
your cities made by time.
— Rilke’s Book of Hours