A taste of rhizome mind

From Poetics of the Rhizome. A course set to start soon.


Before the World Wide Web, there was a worldwide web. Human beings are recent guests in that web, guests often rude and destructive, but sometimes stunned with awe, or love.

[T]he Great Subculture which runs underground through all history … [a] tradition that runs without break from Paleo-Siberian Shamanism and Magdalenian cave-painting; through megaliths and Mysteries, astronomers, ritualists, alchemists and Albigensians; gnostics and vagantes, right down to Golden Gate Park.
                – Gary Snyder, “Why Tribe”

Rats are rhizomes. Burrows are too, in all of their functions of shelter, supply, movement, evasion, and breakout. The rhizome itself assumes very diverse forms, from ramified surface extension in all directions to concretion into bulbs and tubers. When rats swarm over each other. The rhizome includes the best and the worst: potato and couch­grass, or the weed.… The wisdom of the plants: even when they have roots, there is always an outside where they form a rhizome with something else – with the wind, an ani­mal, human beings…. “Drunkenness as a triumphant irruption of the plant in us.”
                – Gilles Deleuze and Felix Guattari, A Thousand Plateaus

I would describe poetry as ecology in the community of words.
                – Jed Rasula, This Compost

[T]he separate perspectives of my two eyes converge upon the raven and convene there into a single focus. My senses connect up with each other in the things I perceive … each perceived thing gathers my senses together in a coherent way, and it is this that enables me to experience the thing itself as a center of forces.
                – David Abram, The Spell of the Sensuous

This old plum tree is boundless. All at once its blossoms open and of itself the fruit is born. It forms spring; it forms winter. It arouses wind and wild rain…. Its whirling, miraculous transformation has no limit. Furthermore, the treeness of the great earth, high sky, bright sun, and clear moon derives from the treeness of the old plum tree.
                – Eihei Dōgen, “Plum Blossoms”

Most of each thing
is whole but contingent
on something about
the nearest one to it
                – Fanny Howe, “The Splinter”

Common threads here are multiplicity and interdependence. There’s no one way to be human. There’s no one way to be a poem. There’s no one way to be at all! And no one way to say so.


Plum Blossoms - detailMy students are you reading. Winter is coming. You’re gonna be asked, early on, to write spring. The image atop is Red and White Plum Blossoms by Ogata Kôrin. You can read a nice treatment of it here.

Here’s what Dōgen Zenji, my teacher’s teacher’s teacher, and on, has to say about painting spring:

When you paint spring, do not paint willows, plums, peaches, or apricots – just paint spring. To paint willows, plums, peaches, or apricots is to paint willows, plums, peaches, or apricots. It is not yet painting spring.

It is not that spring cannot be painted. My late master, old buddha, he alone was a sharp-pointed brush that painted spring.

So be the sharp-pointed brush painting spring. Or whatever.

 

One more for Elise Partridge

Hello friends. A three-way conversation between Barbara Nickel, Stephanie Bolster, and myself on the life and work of our loved friend Elise Partridge has now gone live at the Winnipeg Review. It’s to be found here.

And, if you’re curious, I wrote a bit about the challenge and wonderment of the conversation itself here. You can read some more about Elise herself here. And Barb’s wonderful blog is here. Steph doesn’t have a blog but here’s her publisher’s page here. Enjoy, please, do.


I hope Elise’s spirit won’t mind me appending this.

I was invited to a celebration of Rosh Hashanah tonight and we were asked as part of our lovely evening to express an intention for the year to come. Mine was, to be more patient with others and myself. What’s this have to do with Elise? She wasn’t especially patient with herself or others. In fact I loved her impatience, it was was wise, it was holy! At least when she was skewering someone’s pretensions it was, very.

But my impatience is most often crap. (And that, that’s impatience with impatience. Yeah baby gotcha.) And I’ve just now started sitting zazen again, after years off the cushion, and I’m feeling what a difference it makes to be okay with not getting it exactly right all the time. And a little bit more patient with me, I’m a little more so with some other, too. Does seem to go that way.

Came as this a few ago

TD 90V - imageKshanti paramita = the perfection of patience, or patience beyond patience. Patience so sunk in itself you might not recognize it as patience. That was Elise, too. Barb, Steph, tell me, wasn’t it?

Out of the mouths of nieces

By Isabel, age 10, nature poet in the key of blue.

From stoneWrites her dad (my bro): Asked if she had written a poem, Isabel answered, ‘No. It’s just words that were in my head.'”

My work as a teacher would be so straight & simple, if I could just put this at the front of the room, point, quote that, and go.

Sheeee-it, my work as a poet would be so straight & simple, if I could about forget making poems, & just put some words in my head on some pieces of nice paper.


P.S. Am I just being a foolish uncle or is it kind of exquisite how that raindrop hangs from that that more-than-line but not-yet-branch? Light as air and heavy like a pear.

Student blog: Mind, Drips

Here’s one more for you of an evening. Student blogs I mean. An ode and owed to coffee. Rich in a compost sensibility and not just because coffee grounds make (I’m told) a fine generative soil.

Comma in the name, that’s punc that don’t punk nor get punked.

Lots I enjoy here, but maybe most of all, the quality of attention everywhere in evidence – let’s call it a wakefulness, in the spirit of coffee, noticing minutiae, taking pleasure in, say, the fleeting flowers of foam a barista draws atop your latte, not because she has to, nor even just because she can, but because she can offer.

And chooses to. We’re back with Imagination, living always and only as imaginations, plural, demotic. NO PLATONIC CHICKENS HERE. Just lots of heartful cups of coffee. (A mischievous link in the spirit of Alex’s blog.) (‘Cept I just spoilt it by saying so.)

No words for this. Guess that’s what got me making picture and thing poems. And yet we need to keep finding and failing to find the words for it. Worlds rely on it. E.g., the pic above.

On playing well w/ others (II)

The other live collaboration is teaching. My vis po group delights me yet with their attention and good cheer. I love spending time with them; they’re a twenty-one-person friend; I’m going to miss her him them when we’re done.

One thing happening, new for me, is what I’ve been calling co-teaching. Instead of breaking up the class period – student presents then I teach – I’ve let the presentations go long and tried to weave my teaching into their teaching. That’s made for challenges. I can’t wholly recede into the role of just-one-more-student. There are lines of inquiry I’m best positioned as teacher to introduce. If I just chill and let the conversation go wherever it wants to then I’m not really doing my job.

How to do my work then? My best work has always been done Socratically. But it’s been hard to work Socratically in this new context. Turns out there may be space for only one Socrates in the room. Is that what Athens meant by the hemlock?


Gist of my last post was, look how strong these friendships are, that they can withstand some sore tension, be hardly shaken. Here my gist is, look how strong this class is, its esprit de corps, that they can let me learn along with them, so exposedly.

No question I feel exposed – they see me fuck up half a dozen times a day – but some mix of apology teasing and good cheer keeps me persistent. The fabric feels not injured by my error.


Half a dozen times a class, I need to make a call, do I step in here, redirect our line of inquiry, and if so, by two degrees, or twenty? (How does anyone teach who’s not OMG a martial artist of the mind? What all factors are in play that moment? My sense of the presenter’s confidence level. Of her command of the material. Of the chances she was headed there anyway. Of the class’s interest and engagement. Of who does and doesn’t have the text. Of X’s irritation at not being called on five minutes ago. Mirror neuron overload. Also I need to pee.)

Let’s say I do, I step in. I want several things at once. I want to model, for the presenter, the Socratic method – how to use questioning to lead your charges down a path of inquiry. (Coupla troubles with that I see now. One’s time frame – I’m wanting to deliver in seconds a lesson that may need weeks months years to offer. Another’s ego – why should my given method be template for another?) I also want the class to taste the fruits of Socratic method in action – if we can get there that way then someone has been actively making connections. And I want maybe also to sustain the arc momentum substance of the class.

I wonder why I’m tired after a two-hour class and ravenous? Surely my brain has burned a burrito’s worth of blood sugar.

In practice, as often as not, stepping in, I knock the presenter off his game. He feels interrupted, disrupted, not I hope corrupted. And I do my Socratic thing, pursue a line of questioning, maybe get to an answer, maybe also model the process in the way I’ve meant to. Then awkwardly hand the presentation back, perhaps with apologies, and we laugh, but it’s awkward.


I often don’t know where I’m headed with a blog post when I start one. That’s what makes these worth writing – what makes them live, long I, the way poems are live. The reason I’ve spent hours on this one (yeah, believe it, hours) is that I’ve slowly come to see, in my own internalized Socratic process, that I’ve been headed for something all along. It’s this.

It’s this. Though it’s been awkward, though students have felt off-put, though I’ve felt sorely mixed about the move I’ve made, these may have been the most important moments in our time together.

I’ll say it again. It may be that exactly in these most awkward moments we’ve done our best learning and our best teaching.

One thing that happens in such a moment – I’m exposed as not in charge and not not in charge. That’s not nothing. Another thing that happens – the presenter’s been challenged without being told she’s doing it right or told she’s doing it wrong. That’s huge. (She’s doing it a perfect that’s other than right or wrong.) Another – everyone in the room has been witness to these aporias, these insoluble knots, and that’s gotta shake your head.

Any of this can only be done, sorry to go all dharma on y’all, this can only be done in a context of perfect and complete, one bright pearl. That is to say, the joy I’m feeling in this company is the joy of sangha, like minds gathered in.

Most focally, sangha means, community of fellow practitioners, meditators, followers of the eight-fold path. Most widely it means all sentient beings, and maybe some mosses too, rocks and stones, broke girders. Somewhere between those two it means hanging out with some folk who get some sides of you as they are.

I fell out of formal Buddhist practice a while ago but seem to keep stumbling into it informally and here I see’s been one way.


Have I gone on long enough? I think so! Wanted last to say though, these have been good teaching days, both classes. My intro to Brit Lit, we hung out with Billy Blakefish today, I don’t know why I call him by that. They seemed to get quite quickly that this prodding

mhh.h.p7.100

is invite to wander out of the lockbox of the senses, enter a life of imagination, of Imagination, the world-making faculty of mind, which for Blake was undifferentiable from God. Before we were done one offered, prompted by nought but irritation & consequent inquiry, that this Proverb of Hell

Where man is not, nature is barren

(which pissed me the hell off, too, when I first read it, and it still can) made sense in that light. Nature is made to be nature by human mind. Not anthropocentrism – phenomenology in embryo.

Kin in compost (II)

And another, found through Google, when I wanted to see if its searchy spiders had found this place, yet. What’s the odds of it? Another blog, begun in the spring of the very year, linking affections for compost and zen.

Click to embiggen to see lots of cool textural crap.

One diff, you might learn some from this one about actual composting, which here, you won’t, I don’t think so, no. The blog: zencompost.wordpress.com.

Two locust trees

To broaden our discussion of parts of speech, their places and powers, we read two versions of a poem by William Carlos Williams, “The Locust Tree in Flower.” One goes this way.

Among
the leaves
bright

green
of wrist-thick
tree

and old
stiff broken
branch

ferncool
swaying
loosely strung —

come May
again
white blossom

clusters
hide
to spill

their sweets
almost
unnoticed

down
and quickly
fall

A very pretty poem about a pretty old tree. A lovely coined word, “ferncool,” whose extravagance only starts to look off in the light of the renunciations of the later version. Which goes this way.

Among
of
green

stiff
old
bright

broken
branch
come

white
sweet
May

again

This poem never fails to stun me. Ten Thirteen words on ten thirteen lines. (Oops. One line short of a sonnet.) All but three are monosyllables. The thing’s almost entirely empty. And out of that great narrow strait the poem blossoms endlessly.

And not a metaphor to be found here. All the power comes from metonymic resonance and a powerful torque applied to syntax.

For instance the strange construction

Among
of
green

How can we be both among and of? Among means in the midst of but distinct from. Of means belonging to and identified with.

Are we thrown to a green we remain apart from? Or do we belong to a green we can’t get out of? Spring is the swell and swirl of the new it is and does. And so the poem dizzies, endizzes, lucky us.

Master Dogen said to his monks:

When you paint spring, don’t paint willows, plums, peaches, or apricots — just paint spring. Painting willows, plums, peaches, or apricots is painting willows, plums, peaches, or apricots. It’s not yet painting spring.

The longer poem paints a pretty picture of a locust tree. The shorter invites us to be spring in the tree.

These thoughts, by the way, formed in collaboration with my students, who saw deep and well into this one.


POSTSCRIPT. Want a master class in revision? Track how the first version becomes the second. What words go, what words stay, how the words that stay drift into new places. The depth of the letting go here is astonishing. Nothing less than total.


Black Locust

Birds of attention

One thing I love at Samish Island are the birds. Great blue herons, bald eagles, barn swallows, robins; all through a day of sitting your mind is woven into and out of by robinsong. And today, on the drive back, a redtail hawk on a power line, and the sheer abundance in the eye of two goldfinches on a wire fence.

An old thought came back, birds are forms of attention, sometimes the mind twits and chitters, others it floats on thermals, others it dodges cars eating road carrion.

When I say that, birds are forms of attention, is that a metaphor. I don’t think I mean it as one. I’m thinking I mean it literally.

If any thing is also every thing, then metaphor’s no longer a lie, but maybe too it’s no longer metaphor. It’s just a different mode of literal.

Blake’s fourfold vision in the back of my mind here — probably because Norman talked about Blake, his “Fly” and his “London,” this morning. More on that soon but first to the gym.

“The New Thing”

A link to Stephen Burt’s essay on the “new thing” poetry. Or the new “thing poetry.” Need to reread it, but what I remember is, how grateful I am to find a name for what I’ve thought to be up to.

He sets as an epigraph a favourite passage by a favourite poet.

The self is no mystery, the mystery is
That there is something for us to
stand on.
– George Oppen, “World, World —”

Oh and just for funs, since I’m about to head back down to Samish for the last of Norman Fischer’s dharma talks, let’s put Oppen beside Dogen.

To study the Buddha Way is to study the self.
To study the self is to forget the self.
To forget the self is to be realized by the ten thousand things.
– Eihei Dogen

Grasses trees and broken bricks reach out to wake you up.