Sabbaths 2001 by Wendell Berry

Sabbaths 2001

I

He wakes in darkness. All around
are sounds of stones shifting, locks
unlocking. As if some one had lifted
away a great weight, light
falls on him. He has been asleep or simply
gone. He has known a long suffering
of himself, himself sharpen by the pain
of his wound of separation he now
no longer minds, for the pain is only himself
now, grown small, become a little growing
longing joy. Something teaches him
to rise, to stand and move out through
the opening the light has made.
He stands on the green hilltop amid
the cedars, the skewed stones, the earth all
opened doors. Half blind with light, he
traces with a forefinger the moss-grown
furrows of his name, hearing among the others
one woman’s cry. She is crying and laughing,
her voice a stream of silver he seems to see:
“Oh William, honey, is it you? Oh!”

II
Surely it will be for this: the redbud
pink, the wild plum white, yellow
trout lilies in the morning light,
the trees, the pastures turning green.
On the river, quiet at daybreak,
the reflections of the trees, as in
another world, lie across
from shore to shore. Yes, here
is where they will come, the dead,
when they rise from the grave.

III
White
dogwood flowers
afloat
in leafing woods
untrouble
my mind.

IV
Ask the world to reveal its quietude—
not the silence of machines when they are still,
but the true quiet by which birdsongs,
trees, bellows, snails, clouds, storms
become what they are, and are nothing else.

V
A mind that has confronted ruin for years
Is half or more a ruined mind. Nightmares
Inhabit it, and daily evidence
Of the clean country smeared for want of sense,
Of freedom slack and dull among the free,
Of faith subsumed in idiot luxury,
And beauty beggared in the marketplace
And clear-eyed wisdom bleary with dispraise.

VI
Sit and be still
until in the time
of no rain you hear
beneath the dry wind’s
commotion in the trees
the sound of flowing
water among the rocks,
a stream unheard before,
and you are where
breathing is prayer.

VII
The wind of the fall is here.
It is everywhere. It moves
every leaf of every
tree. It is the only motion
of the river. Green leaves
grow weary of their color.
Now evening too is in the air.
The bright hawks of the day
subside. The owls waken.
Small creatures die because
larger creatures are hungry.
How superior to this
human confusion of greed
and creed, blood and fire.

VIII
The question before me, now that I
am old, is not how to be dead,
which I know from enough practice,
but how to be alive, as these worn
hills still tell, and some paintings
of Paul Cezanne, and this mere
singing wren, who thinks he’s alive
forever, this instant, and may be

Wendell Berry

Wendell Berry
Born: 5 August 1934, Kentucky, USA
Nationality: American

Berry is a novelist, poet, essayist, cultural critic, environmental activist, and farmer. He is closely identified with rural Kentucky and his attention to the culture and economy of rural communities can be seen in the novels and stories of Port William. An elected member of the Fellowship of Southern writers, Berry is a recipient of the National Humanities Medal

Nights of Romancing

Nights of Romancing
Form: Espinela

How I wish we could go dancing
Like we did in those olden days
Moving rhythm as music plays
In those nights of our romancing
Warm nights of summer entrancing
Enchanting love for you and me
Walking beside the starlit sea
Stroll back home; a bottle of wine
On those nights that were so divine
As we kissed setting our love free

©JezzieG2023

We Was Mostly ‘Bout Survival by Betye Saar

We Was Mostly ‘Bout Survival by Betye Saar

We Was Mostly ‘Bout Survival
2017
Identity Art and Identity Politics
Mixed media assemblage on vintage ironing board
The Eileen Harris Norton Collection

Saar repurposed a vintage ironing board on which she painted a bird’s eye view of the slave ship, Brookes. The ship is crowded with bodies and other items have been attached to the board such as an old bar of soap, and a washboard printed with a photograph of a black woman doing laundry. Symbolic of black female domestic labour combined with the symbols of diasporic trauma portrays a powerful story about African American history

Betye Saar

Betye Saar
Feminist Art, Identity Art and Identity Politics, Assemblage, Collage
Born: 30 July 1926, California, USA
Nationality: African-American

Saar is an artist best known for her work in the medium of assemblage. She is also a visual storyteller and printmaker. In the 1970s Saar was a part of the Black Arts Movement which engaged with myths and stereotypes about race and gender. Her work is highly political and challenges the negative ideas about African Americans

When Hearts Seek

A Garret Poet

When Hearts Seek
Form: Etheree

Truth;
brings light
when hearts seek,
gives faith fresh hope.
shades grey and dull dwell
within closed thoughts of fear,
more is found than black and white.
find bright hues in life's trusting dreams
clearing mists blocked pathways to the light
and truth's passage leads away from darkness

©JezzieG2010

View original post