Imagine the Video Montage

Lettuces harvested this morning to be delivered tomorrow.

Cue the happy stock music! It's the Hill-Waber Family Homestead video! Imagine a fade in/out montage of the following:

Sweat dripping from eyelids while weeding.
Flies in the duck coop.
Engorged tick on a goat neck.
A flattened tick being slid into an envelope to send to the lab.
Poison ivy rash between the toes.
Planting corn angrily.
Mouse poop in the shed.
"What do you want for dinner?"
"I don't care."
Tater tots. Again.
Cat pee on the ottoman.
Two exhausted people on the sofa by 8 p.m.

And cut!

If you've ever done a YouTube search on anything like "how to trim a goat hoof" or "how to build a duck coop," you know the sunny videos I'm referencing above. Where everything is edited and just Wonderfarm! No ticks, no balking goat, no field of poison ivy. No one has a life like that. 

There's a lot of beauty here, and progress, and plenty to share. It is lovely because we work to keep it so. My eyelids sweat. I am in bed by nine. Today we finished weeding "the anger corn" and Dan tied up tomato plants while I trimmed low leaves from each plant. We did four rows and called it a day. I am wilted, sticky, smelly, and wringing this writing out of my spongy brain.

I took photos today, because it is beautiful here, especially in early morning light.

The ducks might find this tasty if they'd go on the pond.

So many bespoke insects.

The anger corn, fully weeded, with Rainbow Rutalegga, the scarecrow.

"Give us the saltines."

Tiger lilies blooming near the pond.

Morning light and pond.

Dan with the lettuce haul.

The Duck Squad, during morning rounds.

Microtoms. So sweet! They remind you that tomatoes are a fruit.

The driveway to the produce stand was started today.

Pure evil.

There Must Be More

The trouble with my soul
is that it won’t stay inside
where it belongs. It won’t
just rest, make a nest
in the crook of an elbow
or perch in the ribcage.
It flaps, floats, bashes
itself against the windows,
knocks itself out looking,
I guess, for its own pair
of eyes, sure that the two
we have now are missing
a sunrise of eternal humility.

I Dream of Rain

My body buzzes with the grumble
of a tractor beneath it, my feet
become tires, my back a cart
that carries pails of water
to dry fields, and stones
to fill the swale. There’s
a heavy hope in our air,
tension in each lump of clay
we release to crumbs.
I point out the boulders
across the road, and later,
returned to my own legs
for balance, crouch to lift
a duck feather from the grass
and watch it drift,
a weightless curve
of what we dream on,
find our rest.

A Total Zero

My body is the luminous suit that carries my spirit through this life. I get to enjoy its eccentricities and quirks, like the extra long second toes, the mole on the upper right corner by my mouth, my overall lush-as-a-jungle hairyness, lines across my forehead, a pair of clear, green eyes with aging vision. I've trained my body to be strong enough to perform various feats with hula hoops, an unusual act for someone my age. As a friend said recently, "You defy gravity." Not quite, but in order to dazzle and convince a pal I defy gravity, my body requires a daily maintenance through practice. This has helped (I think), my overall health. It keeps my brain and body challenged.

So yay! My body! I'm celebrating it all the time, right? No. There isn't a day that goes by that I don't think about my body in a negative way:

Is that a jowl?
Why are my legs so pale and cottage cheesy? They don't even look good when I shave them.
Whoa. Arm sag.
Stretch marks.
Can I still see my hip bones? Yes. I'm ok.
My ass feels huge.
I  have the body I did in 2015, I'm ok.
I have the body I did in 2015, I'm fat.

I don't compare myself to others. I compare myself to myself.

Two years ago,  I was a size zero. I was complimented on this thinness, often. When I went to a Redi-Care center with a badly strained back muscle, the doctor spent more time complimenting my physique than assessing my pain. A fellow hooper on Instagram, one I admire, commented on how great I looked, how thin. Friends I hadn't seen in awhile would see me and the first thing out of their mouths would be about my body. "Wow! You look great! Look how skinny! Must be all that hooping!"

I felt great with all this attention, and I felt awful with all this attention. 

It wasn't all that hooping. It was stress. I wasn't eating. It was probably one of the worst times in my life. I was unhappy, depressed, out of my mind with worry all the time, and scrambling to do the right thing for someone I loved. Most days, I was dizzy. I often woke up and had panic attacks. I tried to tell myself the dizziness and panic attacks were just hormonal, but I was dangerously thin and undernourished.

To be skeletal in our society is a goal. I'm five foot eight inches tall and I weighed 117 pounds. I began to praise myself, too. "I'm thinner than I was in high school!"

I think we need to consider what we say to people about their bodies. We don't know why a person has lost weight, or gained it, or how they feel about it. But our culture sure celebrates the thin, the lost pounds, and a youthful look. All the ads I see on social media are for age-defying makeup, tricks to keep my ponytail lively, or diet apps. They have my demographic pegged.

I'm not a size zero now, and most of the time, the little voice inside my head tells me I'm fat, saggy, and too old to be doing what I'm doing. I should just stop. This voice keeps me from being happy sometimes, all these thoughts about my body and it's "failings," which aren't failings at all. It's just my body, being alive right now, in this moment. My body is the luminous suit that carries my spirit through this life. I get one. Let me love it, please, before I have to leave it.

Po Chü-i

The older I get the more I need to read poems by very ancient, and quite dead poets of earlier centuries. Po Chü-i is a Chinese poet who lived from 772-846.

There's great comfort of reading the thoughts of another person, from a great distance in time, and how they connect now. Being human hasn't changed. In this poem about the dreaming and waking world, Po Chu-i reflects on how those two worlds  are both entwined and separate, and how the dream spaces allow him to move as he ages. Po Chü-i  had a long and successful career both as a government official and as a poet, and these two careers seem to have come in conflict with each other at certain points in his life, which is interesting to think about as well as I read this poem.


A Dream of Mountaineering

At night, in my dream, I stoutly climbed a mountain,
Going out alone with my staff of holly-wood.
A thousand crags, a hundred hundred valleys --
In my dream journey none were unexplored
And all the while my feet never grew tired
And my step was as stong as in my young days.
Can it be that when the mind travels backward
The body also returns to its old state?
And can it be, as between body and soul,
That the body may languish, which the soul is still strong?
Soul and body -- both are vanities;
Dreaming and waking -- both alike unreal.
In the day my feet are palsied and tottering;
In the night my steps go striding over the hills.
As day and night are divided in equal parts --
Between the two, I get as much as I lose.

Translated form the Chinese by Arthur Waley

Happy Mother's Day

For a Five-Year-Old

A snail is climbing up the window-sill
into your room, after a night of rain.
You call me in to see, and I explain
that it would be unkind to leave it there:
it might crawl to the floor; we must take care
that no one squashes it. You understand,
and carry it outside, with careful hand,
to eat a daffodil.

I see, then, that a kind of faith prevails:
your gentleness is moulded still by words
from me, who have trapped mice and shot wild birds,
from me, who drowned your kittens, who betrayed
your closest relatives, and who purveyed
the harshest kind of truth to many another.
But that is how things are: I am your mother,
and we are kind to snails.

Fleur Adcock, Poems 1960-2000, Bloodaxe Books, 2000 .

This poem by Fleur Adcock reminds me of my mother, and it is one that is in the unkempt and mislabeled filing system of my mind. It's the connection of kindness and truth, and the phrasing of the last two lines that make me think of her. The harshness of the truths in the second stanza of the poem, so harsh they make the reader wonder if they are all true, well, they are necessary to making the poem work the way it does. It's so good.

There's a family story which is related to this poem resonating with me as well. When my sister and I were young, Mom saw an opportunity to teach us a bit about science. There were a couple of slugs near the house that she sprinkled with salt to show us how they dehydrate. "You were both mortified," she said, when retelling this family story. "You cried. I felt awful." It wasn't an entirely botched lesson. I still think about it, and the places where wonder and sadness meet.

Also, I try to stay hydrated when working outside.

Thanks, Mom. I miss the realness of you.

The Day is Just a Lifetime in Miniature

Early morning: ballet of possibility
Noon: two buckets balanced on a yoke across the shoulders
Mid-afternoon: lone fencepost of entropy
Early evening: water eddies in the stream around a stone
Night: vulture of sleep

Silence

The stone at the edge of the pond
doesn’t know it is called a stone,
nor does it need to in order to exist.
The pond water laps in wind
and all three nouns in that phrase
pond - water - wind
manage well without language,
or our categories for it,
any parts of speech, like noun.
None of this world
had a name before us,
and it still turned on its axis
somehow, without a word
for axis. Without a word.

Excavation of an Uneven Path

I prefer to kneel in the ground
until my back and neck ache,
use my hand as a trowel,
a rake, my fingernails filling
with dirt
as I search for a path
someone else laid out decades ago.

Here it winds toward the shed,
and there it ends
in a profusion
of terra cotta shards and gravel.

A pale grub of frustration
from not knowing
which way to turn
dissolves
in a spontaneous mudpie
experiment. I find reward
in the tiny
ceramic basket with gold trim
excavated six inches below
where I began this morning.

It makes sense to me to bow down
to where the path might be, search
many generations worth
of stories I hold,
handle,
hear,

let anger (that lowly, but helpful worm)

with my spatial lacking lead me

to feel the grit

of whispers
from everyone who lived here before.

I listen, aware of my spine
and every impulse my body
still has in its living cells,
I hear what it feels like
to not know what I
might unearth next.

Black Vulture

Guess who has been up on the barn roof three days in a row? A Black Vulture. He looks a bit like he's been taking classes in Commedia dell'arte. Nice mask, friend.

Uh, friend? Maybe not. My ducks are out and about. The first day, I shook my fist at him, and off he flew. The second day, the same, and this morning, he was back, waiting for the thermals to start, or keeping an eye on the dead racoon at the edge of our road.  I felt like a jerk when I realized I shook my fist at the clean-up crew. He's eating a natural predator of my ducks.

So I guess he's just going to do this work until there's nothing left to be done. This morning when we came inside after feeding goats and letting out the ducks I said to Dan, "Three days in a row. Kind of an ugly omen, don't you think?" And he did my favorite thing ever, he made the vulture speak:

"No one ever shakes their fist at the garbage man! I'm not the harbinger of death! Death came first ..."

The first laugh of the morning, hearing the complaint of the Black Vulture, misunderstood supervisor of roadkill, and hopeful player of Coviello.

What Lives There

The shed is home to a metal bouquet of tools,
hungry shovels, rakes of all stripes,
a carpenter bee snugged deep in a beam.
A nail holds the poultry waterer,
from another dangles a rag, red bucket,
a misanthropic hula hoop. Empty feed bags
(too good to throw away), sag in a corner
and complain with a coterie of fenceposts.
The shelf is a smattering of goat treats,
an opened bag of generic cheerios,
animal crackers, and the saltine box
where you found a field mouse
rustling around in a blissful panic.
The floor is rotted, just another task
we say “tomorrow” to, and from behind
a tub of sweet feed, the upside down
Mona Lisa smile of the scythe sneers
her editorial work — the instrument
made to cut out all we don’t want
from the living.

Sympathy Card

Here is the iris of
a solitary cardinal on a branch of
an angel weeping into her forearm of
a heart made of hearts of
a daisy losing the last petals of
the butterflies lifting in the air of
a lotus floating on a pond of
an empty bench of
one horse standing in the fog of
the rainbow behind the roses of
a dragonfly above the lilies of
a cutout heart that makes a window of
the autumn leaves of
what words do I write now of
the loss in this space of
two panels of
winter blankness

Some Thoughts on Publication

It was important to me to make a name for myself in the literary world when I was in my late 20s through early 40s. I sent work out regularly, followed each publication's guidelines, pored over contest rules, sent out work, and had a modicum of success. It felt good to be "someone." When I won a contest that landed me at a reading in New York City among some of the A-List Poets and one of them pulled me aside after the reading to say, "I look forward to seeing your name in journals," my ego soared. I know it was meant as a kindness, a pat on the back of encouragement, and I took it as such. I was young, in my late 30s. I was becoming.

But I think about that phrase now, and it makes me wince: "Your name in journals." It was the assumption that I'd joined the elite crew of the well published, and I'd continue the machinations necessary to keep that boat rowing forward.

Well, I didn't. I doubt that poet is looking for my name in any journal, either. The boat pushes through the water without Jennifer Hill in it.

In a private group on Facebook recently, someone asked, "Do you post your poems in public on social media if you haven’t published them yet?" The responses ran from "Never," to "Well, I think you can if it's in a private group," to my response, which was this:

The older I get, the less time I have to write and share poems. I came to a place several years ago as I faced the blinking cursor in a field on a spreadsheet where I kept track of where my poems were sent, where I realized I was spending way too much time (perhaps more than writing) on tracking where those poems were. The wait was long for some. Years, for a rejection, for a poem that could have found a life elsewhere. Sometimes I'd never hear back at all. Sometimes it would be published, and I'd find out later (that was weird), or I'd be notified that it would appear in an upcoming issue, and I'd forgotten what the poem even was. So I just decided it wasn't worth the effort anymore. 

I'd rather my poems be read than lingering in an inbox indefinitely. Some of it is a letting go of my desire to "be someone" in the writing community. Some of it is my hallmark impatience. Some of it is just enjoying the writing and sharing, and hoping my poems resonate with readers. Do I ever question this letting go? Yes. I've had some success with traditional publication and I've run a press that published books of poetry. There are journals I respect and enjoy reading. I still encourage people to send their poems out, too. But when I weigh the "poem that made it into a high school textbook because it was published in that fancy anthology and got noticed by an editor" against all the real human connections I've made from sharing my poems in other settings, well, the real connections win out for me. It's a decision you make for yourself, of course, and I think you can do a bit of both, but you need to be respectful of each publication and their guidelines. 

I recognize this isn't the most popular thinking, but it's mine, for now.

As We Become More Inside

For the past forty days
or so everyone is inside
and no one knows
what to do about it
but a snail is outside
and on the edge of rain
exploring a blade of grass
riding its slow green wave
relaxed and ready
for whatever may be
at the end.

Sweetgreen

Kneeling in the kitchen garden
in his torn plaid jacket and Irish flat cap,
broad back to me,
head bowed,
he concentrates
on a tiny, living thing
perhaps a pea start —
its thready,
vulnerable roots
and new leaves
shivering in dim light.

The April sun is a giant he follows,
who also kneels each day
to clear room for the stars
as they kiss each sprout
in the same way my eyes
graze this man
whose rooted hands
bring me all the food
I will ever eat.

I Wanted To Sing

That morning, I wanted to sing
to my students, full of feeling
about ancient voices
that were showing us
how much we are alike.
I don’t remember the song
that had such tidal pull
I wanted to share it.

How little has changed.

We wrote poems together,
combed Sappho’s fragments
for their meaning and messages
and with only two weeks time
ourselves, ripped our own poems
apart to see what still breathed
in the pieces.

We glued our sea-drift words
to blocks, built up and tore down
poems over and over again
to see what we could lift
from the wreckage.

Their senior year voices
bubbled like the secrets
of Tu Fu or Issa:

I only wanted everything,
all you have to offer —
life

My soul is heavy
I’m alive

I didn’t sing that day.
How could I?
It was the end of homeroom,
drone of announcements,
the pledge of allegiance,
lunch orders —
patty melt or fish sub?

They would think it
out of place, my song.
I took a coward’s silence.
I groan for this.
But what can I do?

How much I wanted
to give them,
any handful of seashells
or polished glass, sand
passed through fingers.

How little has changed:

My soul is heavy
I’m alive.

Nature's Sweet Message For You Today

Two days in a row I’ve seen the same frog
snugged into the mud by the makeshift
bridge in the watershed.
Yesterday she didn’t move at all,
just sat there, all brown and earthy,
a testament to camouflage and
will you just keep your mouth shut
for once and listen.

 •

I wrote to a friend recently about how I really want to create right now. Every twenty minutes or so I get a blind energy, a dustup of motivation that moves me to research, take notes, or roll around on the floor with a chair and dream. Then it seems as soon as that phase is over, the doomblob rolls in, and everything feels dire and purposeless.

There's a list of projects I am pursuing very slowly, like a cat in the underbrush, wiggling and pausing, adjusting her line of sight, and pausing some more. Is this bird worth it? Is it too big? I may get my eyes pecked out.

When I'm not having full on panic attacks, making soup out of leftovers, or avoiding Facebook by reading Boing Boing, I do yoga, keep up my hoop practice, or "follow along" with free Zumba routines available online now. There's plenty online, and I'm terrible at Zumba. I do not have the hair-flipping, sexybod moves for the choreographies, but I really enjoy the attempt, the fail, and the increase in heart rate. I laugh at myself. What else is there?

Then and only then, when I have written and exercised, do I have permission to go outside and stare at a frog.

Waterline

Lady Wreck raises her glass
and drinks to the stiffness
in her neck, lostness of the day.
She veers into the sofa, her helm
of anxiety crashes into waves
of ambient light and laugh tracks.

Lady Wreck is so grateful to be here,
hello, hello, it’s lovely to be back
where no one can see her
billowed under blankets,
the words of her friend in a loop:

there are refrigerated trucks
outside on the streets
full of dead bodies

Lady Wreck sets her head down,
sweats, shivers, breathes in all
the hull of her body (a dinghy)
wouldn’t allow before,
takes the full weight
of the ocean on board.

As Easy as Herding a Duck

"How do you herd a duck?" is a Google search string I've typed recently, and of course, I found a helpful video on YouTube. What we've learned in the past two weeks as we take the ducks to and from their tractor, is that when frightened, ducks will play-doh themselves through small spaces, get stuck in concrete blocks, huddle in brambles, and veer off under stairwells then shoot out the bottom openings like "Vend-O-Duck."

We've also learned that they have personal kinespheres, just like people do, and once you learn their comfortable space bubble, you can use their flock instincts, and some cooked corn, to get them to go where you want them to (mostly). This morning we had our first real success, getting them out of the brooder in the greenhouse, and outside to the pyramid without any real snags. This is the first morning they are out there early, rather than later, and with any luck, we'll get them into their coop tonight.

A couple of weeks before lockdowns and social distancing began, eight ducklings arrived at our local post office and I got a call from the postmaster, Fran, to come "pick up your box full of chirps." We've been fortunate for the past two months to be preoccupied with ducklings. We were not prepared for the constant stream of care required, or the endless questioning over brooder light wattage, how to build a secure coop, or what kind of grit is needed for their digestion. But I am glad we've had the vast opportunities for creative problem solving while we've been sheltering in place. It's kept our minds and bodies busy.

I've annoyed countless friends with texts of duck pics (for the record, you really need to proofread your text messages when mentioning ducks). I've hounded my friend Howard, the Animal Whisperer, for advice and guidance.

Ducks grow fast. They are messy. They outgrew everything within a few weeks, and we lost two of them (Moonlight and The Undertoad). They've spent the past few weeks growing in a brooder made out of a livestock waterer, in a corner of the warm greenhouse.

We began to build a coop with supplies picked up, and later had delivered, the chicken wire and two by fours piling up outside our house. We researched, and planned, and neither of us has carpentry skills or any particular spatial genius. We ended up with what I call "Patchy Milatchy," or "The Duck Bunker," or "The Quack Shack."

The whole build was a "it's a learning experience!" of problems overcome with ah-ha solutions. One I applied yesterday. A couple of screws were poking out of the walk-up side of the ramp, so at Dan's suggestion, I grabbed a couple of wine corks and screwed them on. Ingenious.

The coop has to be weasel proof, and it is, we hope. It is so tightly built, that when the wood swells during rainy weather, the door is difficult to shut. It's do-able, and then locked down with two sliding hasps.

We also built a "duck tractor," a moveable safe haven for them to be in while we're not out on the property with them. It's a pyramid, because that was the easiest to build with the materials we had, and also Dan's idea.

I'm not sure what would be out there for them if I was left to my own devices to build something. I found myself outside this week on a sunny day, snagged in a curl of poultry netting, with a handful of those jabby fenceposts at my feet, trying to envision a duck run with the materials we had left over. I gave up. So for now, the ducks will move from their coop to the tractor, or out onto the pond.

My next search string for Google is, "How do you get ducks to come in from swimming on the pond?"

Sunday Funnies (or not so)

A Short List of Things I No Longer Lick

Envelopes, to seal
A finger, to coax a page turn
The nib of a drying pen (rare, but still)
Any frayed end of yarn or string
A finger, to pick up a small piece of paper
A finger, to twiddle a plastic bag open