There is a place where the town ends,
and the fields begin.
It’s not marked but the feet know it,
also the heart that is longing for refreshment
and, equally, for repose.
Someday we’ll live in the sky.
Meanwhile, the house of our lives is this green world.
The fields, the ponds, the birds.
The thick black oaks—surely they are
the invention of something wonderful.
And the tiger lilies.
And the runaway honeysuckle that no one
will ever trim again.
Where is it? I ask, and then
my feet know it.
One jump, and I’m home.
When the flute players
couldn’t think of what to say next
they laid down their pipes,
then they lay down themselves
beside the river
and just listened.
Some of them, after a while,
and disappeared back inside the busy town.
But the rest—
so quiet, not even thoughtful—
are still there,
Red bird came all winter
firing up the landscape
as nothing else could.
Of course I love the sparrows,
those dun-colored darlings,
so hungry and so many.
I am a God-fearing feeder of birds.
I know He has many children,
not all of them bold in spirit.
Still, for whatever reason—
perhaps because the winter is so long
and the sky so black-blue,
or perhaps because the heart narrows
as often as it opens—
I am grateful
that red bird comes all winter
firing up the landscape
as nothing else can do.
An unusual and beautiful poem about the everyday loss of ego
My stepdaughter and I circle round and round.
You see, I like the music loud, the speakers
throbbing, jam-packing the room with sound whether
Bach or rock and roll, the volume cranked up so
each bass note is like a hand smacking the gut.
But my stepdaughter disagrees. She is four
and likes the music decorous, pitched below
her own voice-that tenuous projection of self.
With music blasting, she feels she disappears,
is lost within the blare, which in fact I like.
But at four what she wants is self-location
and uses her voice as a porpoise uses
its sonar: to find herself in all this space.
If she had a sort of box with a peephole
and looked inside, what she’d like to see would be
herself standing there in her red pants, jacket,
yellow plastic lunch box: a proper subject
for serious study. But me, if I raised
the same box to my eye, I would wish to find
the ocean on one of those days when wind
and thick cloud make the water gray and restless
as if some creature brooded underneath,
a rocky coast with a road along the shore
where someone like me was walking and has gone.
Loud music does this, it wipes out the ego,
leaving turbulent water and winding road,
a landscape stripped of people and language-
how clear the air becomes, how sharp the colors.
The body-mind is simply an object. There’s no-one in there. It’s just a mechanism that works. It’s an organism that grows up and works and is conditioned and has feelings, thoughts, preferences and habits that go on, and there’s no-one in there doing that. That is simply oneness arising as a body-mind organism which is, in a way, a divine puppet in that it just responds and reacts to whatever’s going on without any self-volition. However, there is no puppeteer. There is no script, no plan, no destiny, no fate … it is all timeless being appearing as something seeming to happen.
You can neither search nor give up searching. Searching will happen of its own accord until it stops. If you try to give up searching, you will search for a method to give up searching.
“Award winning film makers Boris and Claire Jansch go on a journey to unravel what it means to be alive. What if the search for happiness was based on a huge misconception, a misconception that has been drummed into us since birth, that we are separate individuals.
This radical and challenging documentary ventures into the heart of the mystery of identity, flipping the idea of spiritual endeavour on its head, revealing a message so profound and yet so simple that it might just end the search.”