Showing posts with label Seamus Heaney. Show all posts
Showing posts with label Seamus Heaney. Show all posts

Tuesday, August 31, 2021

#PoetryBreak: Anything Can Happen by Seamus Heaney

 

On the road to Teller, Alaska (M.A. Reilly, 2021j

Anything Can Happen

 - 1939-2013


after Horace, Odes, I, 34.  
Anything can happen. You know how Jupiter
Will mostly wait for clouds to gather head
Before he hurls the lightning? Well, just now
He galloped his thunder cart and his horses
 
Across a clear blue sky. It shook the earth
And the clogged underearth, the River Styx,
The winding streams, the Atlantic shore itself.
Anything can happen, the tallest towers
 
Be overturned, those in high places daunted,
Those overlooked regarded. Stropped-beak Fortune
Swoops, making the air gasp, tearing the crest off one,
Setting it down bleeding on the next.
 
Ground gives. The heaven’s weight
Lifts up off Atlas like a kettle-lid.
Capstones shift, nothing resettles right.
Telluric ash and fire-spores boil away.

Sunday, April 29, 2018

#PoetryBreak: Bogland by Seamus Heaney

Fieldwork (M.A. Reilly)


As we come to the close of Poetry Month, this one feels right. 


Bogland

 - by Seamus Heaney


               For T.P. Flanagan


We have no prairies
To slice a big sun at evening--
Everywhere the eye concedes to
Encrouching horizon,

Is wooed into the cyclops' eye
Of a tarn. Our unfenced country
Is bog that keeps crusting
Between the sights of the sun.

They've taken the skeleton
Of the Great Irish Elk
Out of the peat, set it up
An astounding crate full of air.

Butter sunk under
More than a hundred years
Was recovered salty and white.
The ground itself is kind, black butter

Melting and opening underfoot,
Missing its last definition
By millions of years.
They'll never dig coal here,

Only the waterlogged trunks
Of great firs, soft as pulp.
Our pioneers keep striking
Inwards and downwards,

Every layer they strip
Seems camped on before.
The bogholes might be Atlantic seepage.
The wet centre is bottomless.

Monday, April 10, 2017

#SOL17: Stiff as a Cross Beam

Distance in the Head (M.A. Reilly, 4.10.17)


I.

Seamus Heaney, in his poem, "St. Kevin and The Blackbird" asks us to consider the space between being self-forgetful and being self-sacrificial as is the choice St. Kevin confronts when his outstretched hand becomes a roost for blackbirds.



I know Kevin's pain. There he stands, stiff as a cross beam--half of this life. Half not.


II.

At first grief is muscular--much like the agony St. Kevin's body comes to know as he stands through weeks of sun and rain with his arm out stretched. In the first few months after Rob's death, I walked 6 to 7 miles each day. I felt better being among the trees, tasting the earth and dirt, and wind and rain. I needed the bigness beyond me to fill what had become so very empty. I sought bone deep exhaustion. 


III. 

Later, grief became more ethereal--a here now and then gone and could it be, I wondered, had I worked myself through Rob's passing? Then came a reign of firsts: our birthdays, Christmas, wedding anniversary and New Years all rolled into 6 weeks. Then grief was dogmatic--asserting the simple truth the bereavement knows no clock. 

It asserted this with a force that fell knees to ground.


IV.

Now, I know glad moments, days that stretch out with some satisfaction and days that are tinged with a sadness I suspect I'll always carry.  Losing a love is the very definition of being out of time. Nothing syncs even as the earth turns, rivers flow and birds alight.

Now, there's distance in my head and I know what it means to forget: self, bird, and the river's name.


Tuesday, August 16, 2016

#SOL16: Love as Location and Stance


I.

One birthday some years ago, Rob handed me a slim wrapped package to open. He and I celebrated birthdays one day next to the other and so it was not unusual to find one or the other of us opening a gift in mid November. That morning I unwrapped  a copy of Seamus Heaney's District and Circle--and with no classes to teach that day, I watched my husband and child leave for work and school and then sat down with a cup of tea to read that 76 page masterpiece.

And masterpiece it was. In the poem, "The Aerodrome," Heaney says that love is both location and stance and is shaped by the bearings taken. Heaney closes the poem by writing:

“If self is a location, so is love:  
Bearings taken, markings, cardinal points, 
Options, obstinacies, dug heels, and distance, 
Here and there and now and then, a stance."

II.

It's ironic how lines of poetry return almost dusty when we most have need. This is a year where I have learned a primal definition of need.  In a year of wild and dashed hopes, Heaney's insistence that love is both location and stance rings truer than any other time I can recall. I have always had a fondness for those lines even though I found them to be a bit baffling.  But tonight their meaning is clear.

When I think about love, my first instinct is to think of it as a verb. Love locates. It lifts and roots us to the here, the now, filling us as it empties--a slight nod to Escher's Waterfall. Love as verb resituates the impossible. But Heaney is so much more the clever artist and he wants us to think of love as noun.

If self is a location, he tell us, so is love. There's a conditional logic there to be envied and the use of a colon lays it out for us. Our stance with regard to love--the stance we take is predicated by the bearings we have taken, the geographies we have composed, as well as the options and obstinacies we have named and lived and out of all of this now and then emerges a stance we take and it is that stance that locates love.

The last year, the geographies of self and other, husband and wife, father and son, widow and son, presence and absence, love and loss have been nothing less than an opening-onto and a distancing-from. The death of my husband has left me worn, introspective, and terribly mindful.

III.

A year ago this Wednesday night I held Rob's hand as we sat side-by-side in the hospital's imaging center while waiting for Rob to be taken for a CT scan.  We chatted quietly now and then so aware of others in the room--a room where no one's chatter sounded weightless. Mostly, we were quiet. It was early evening and even though we knew that there was a chance something might be wrong with Rob, neither of us ever entertained the idea it could be life threatening, let alone, cancer. We were taking off at the beginning of the next week for our annual Maine holiday--a trip we never got to make. That night, the scan was done quickly and then we were off to dinner--just the two of us. We spent a good portion of the evening talking at a table for two and then listening to music. Devon was off at a friend's house spending the night. Neither Rob, nor I knew that this would be the last night we would ever spend together outside our home just the two of us.

Early the next morning, we learned Rob had cancer and 6 days later I would sit on the hard plastic chair in the surgery waiting room for 7 hours as Rob underwent a VAT procedure. Devon would vacillate between sitting in the waiting room and sitting in the hospital cafe. I refused to move as I was told this is where the surgeon would come to speak to me. The surgeon had told us the surgery would be about an hour. It was not. Rob would spend that night and most of the next day in intensive care and I would spend the night after that with him in his hospital room as he was so disoriented and scared.

Nothing would be the same ever again. Nothing. And I think this is what Heaney had in mind when he wrote about love as a location and stance. Heaney's notions of love are not concerned with the particulars of the story I tell here, but rather with the ways we respond--the stances we assume. Throughout the next six months, our stances were united, kind, loving, responsive, present.

Within the first 72-hours of the initial diagnosis, I quietly watched multiple lectures about lung cancer treatment late at night and by the time Rob was wheeled into surgery that following week I had examined the most recent statistics I could find about cure rates and lung cancer.

I was scared to death, realizing my husband might be dead by late winter.

At that time we did not know what stage cancer Rob had but we naively thought it must be stage 1 as he seemed so asymptomatic, so healthy. We would learn that it was stage 4 nearly by mid September. By then I would know that his chances to live were very slight.  I kept this to myself, never saying those words to either him or Devon and I would nod in agreement when Rob thought his chances were rather good. As the weeks wore on I began to believe that if anyone could beat this awful disease, it would be Rob.  He was so hopeful, so willing to do what must be done. He was so courageous. But error after error occurred and with each doctor mistake, my husband's chances for life waned.

IV.

I didn't know it during those terrifying months when each week brought with it some new life-threatening calamity to confront, but now I realize that there's a bit of grace that accompanies such a ferocious stance. I did whatever he needed to save him until I learned that saving him was no longer possible. Then I learned to privilege his comfort. Even when we were just minutes from learning the prognosis was now terminal and that Rob would likely die within a matter of weeks, his immediate concern was for me and Devon. I still find that amazing. And isn't that what love as location and stance is mostly about?

Love isn't about being blind, but it is about the way we chose to be present, even at highly stressful moments in life.  Love is largely about the stance we adopt. My stance, like Rob's and Devon's remained constant: whatever Rob needed we all did. Sometimes it really was that simple. By March the medical bills had grown beyond 6 figures and I had stopped working nearly two month prior so that I could care for Rob. The Hospice social worker told me she would try to get Rob into some facility and others supported that action. It is impossible to convey with these words how insular life becomes when days and nights are spent caring for the man you most love who is dying. Now and then I could find the occasional hour of sleep, but days went by without any rest. That night I sat next to Rob as I did each night and the house quieted and I looked at him and knew I needed to set aside the financial worries. I believe now that it was love that powered me as I had mostly stopped eating alongside Rob and sleep was rather rare for even when I did try to sleep I spent the time mostly awake.

Love is a stance--the attitude we accept/take/create/commit to.  But here's the thing I  most want to let you know.  It isn't the common definition of stance that most interests me tonight.  It's the secondary one. Stance also means "a ledge or foothold on which a belay can be secured." That's the power of love.

V.

No one in my life has ever loved me as my husband chose to do each day and it was by his side that I learned through experience the deepness and stability of love. Love did not come with conditions. What we have borne these last twelve months has given shape to the love that finds me tonight--a love that brings both tears and comfort. And I am in need of each.











Wednesday, July 29, 2015

Exploring Fables: From Seamus Heaney to Arnold Lobel --Teaching With Analog & Digital Texts

A text set is a collection of related texts organized around a topic or line of inquiry.  In this post I reference a collections of texts (analog and digital) that I have used  (or plan to use) when teaching fables.  Most of these texts I have used with 2nd grade children, but given that these are fables--the texts will work with older children too. 

Read Aloud

  1. Lobel, Arnold. (1983). Fables. New York: HarperCollins. (540 L)
  2. Mora, Pat.  (2001). The Race of Toad and Deer. Illustrated by Domi. Toronto, ON: Groundwood Books. (Lexile N/A)
  3. Mora, Pat.  (2001). La Carrera del Sapo y el Venado. Illustrated by Domi. Toronto, ON: Groundwood Books. (Lexile N/A)
  4. Nunes, Shiho S. (2013). Chinese Fables: The Dragon Slayer and Other Timeless Tales of Wisdom. Illustrated  Lak-Khee Tay-Audouard. Tuttle Publishing.
  5. Pinkney, Jerry. (2015). The Grasshopper and the Ants. New York: Little, Brown Books for Young Readers.
  6. Pinkney, Jerry. (2013). The Tortoise & the Hare. New York: Little, Brown Books for Young Readers.
  7. Pinkney, Jerry. (2009). The Lion & the Mouse.  New York: Little, Brown Books for Young Readers.
  8. Rosen, Michael. (2013). Aesop's Fables. Illustrated by Talleen Hacikyan. Tradewind Books.
  9. Subramaniam, Manasi. (2014). The Fox and the Crow. Illustrated by Culpeo S. Fox.  Karadi Tales Picturebooks.

Image result for seamus heaneys five fablesI-Pad App

Seamus Heaney: Five Fables. Touchpress Limited.  (The Fables: The Two Mice; The Fox, the Wolf and the Farmer; Preaching of the Swallow; The Fox, the Wolf and the Carter; and The Mouse and the Lion). Right now app is $2.99

Really, need I say more?



Partner Reading Bruchac's Turtle's Race with Beaver.
Independent/Partner/Small Group Reading/Reader's Theater
  1. Blau, Lisa (Scripted). The Lion and the Mouse. Reader's Theater Script. Download from here. 
  2. Brett, Jan. (2003). Town Mouse, Country Mouse. New York: Puffin. (530L)
  3. Brown, Marcia. (1989). Once a Mouse. New York: Aladdin. (530L)
  4. Bruchac, Joseph (Abenaki). (2003). Turtle’s Race with Beaver. Illustrated by Jose Aruego and Ariane Dewey. New York: Dial. (Lexile N/A)
  5. Daugherty, James. (1989). Andy and the Lion. New York: Puffin. (510L)
  6. Lionni, Leo. (1973).  Swimmy.  New York: Dragonfly Books. (640L)
  7. Meighan, Julie. (2015).  Aesop's Fables: A Collection of Children's Plays. Jem Books.
  8. Montgomery, Carol. (2010). The Beaver and the Lumberjack. Reader's Theater Script. Download from here. 
  9. Palatini, Margie. (2010). Lousy Rotten Stinkin' Grapes. Illustrated by Barry Moser. Reader's Theater Script.

Fables to Listen To (Audio Texts)

  1. Storynory. The Rat and the Elephant.  Read by Bertie. London, UK: Storynory. (Downloadable and also includes written text)
  2. Storynory. The Grasshopper and the Ants. Read by Bertie. London, UK: Storynory. (Downloadable and also includes written text)
  3. Storynory. The Fox and the Crow.  Read by Bertie. London, UK: Storynory. (Downloadable and also includes written text)
  4. Storynory. The Little Mouse.  Read by Bertie. London, UK: Storynory. (Downloadable and also includes written text)
  5. Storynory. Androcles and the Lion. Read by Natasha.  London, UK: Storynory. (Downloadable and also includes written text)
  6. Storynory. The Lioness and Small Respect.  Read by Natasha. London, UK: Storynory. (Downloadable and also includes written text)
  7. Storynory. The Hare and the Tortoise. Read by Natasha.  London, UK: Storynory. (Downloadable and also includes written text)
  8. Storynory. The Boy Who Cried Wolf.  Read by Natasha.  London, UK: Storynory. (Downloadable and also includes written text)
  9. Storynory. The Town Mouse and the Country Mouse.  Read by Natasha.  London, UK: Storynory. (Downloadable and also includes written text)


 
Story Emulations: (Texts for Students to Emulate as Writers & Illustrators)

  1. Wang, Gabrielle. (2013).  The Race for the Chinese Zodiac. Illustrated by Sally Rippin and Regine Abos. Somerville, MA: Candlewick Press.
  2. Charise Mericle Harper & Chris Duffy (Eds.) (2015). Fable Comics. New York: First Second Books.


Tuesday, April 14, 2015

What it Was I Was Listening For


                                               ...The space we stood around had been emptied
                                               Into us to keep, it penetrated
                                               Clearances that suddenly stood open.
                                               High cries were felled and pure change happened.
                                                                                - Seamus Heaney, from Clearances, VII


I.

Forgetfulness (M.A. Reilly, 2010)
On a too early day in May, I watched my mother die. There is simply no easy way to buffer that truth. I stood beside her bed, touching and not touching, hearing even now, fifteen years removed, her chest rattle as I bargained with an indifferent God. Just a bit more time though I knew she suffered. And regardless of all of those years I spent on my knees--the hard kneeler a kind of penance for sins committed and not--God was mute. Tight-lipped. Taciturn.

I never quite knew what it was I was listening for.

II.

Time passes like a list begun more than once, left tucked inside the pocket of a winter coat worn last season. This is how grief moves and fails to move. Memories arise from the least provocation like a wave that swamps me. And I am drowning here on a Tuesday morning on day too much like the day we set her in the ground--a too beautiful, too early spring day at that.  I sit next to the grown daughter and her mom--both out for some talk, out for a pair of pedicures--nothing too goddamn special.  And it's the ordinariness of it that most undoes me.

I am desperate for Heaney's pure change.

III.

There's little to know when burying the dead. Knowing is a false balm that does not soothe. Knowing is a way to stand still, like that cup of tea made and remade that is still waiting on the counter, long cooled and forgotten.  With each lived moment, I edge closer to leaving and nothing terrifies me more than the thought of my son bargaining with some god on a too early, too spring morning. What words will he proffer?  Have I even taught him how to listen?  Language is a vice--one part fixed, one part moving--a bolt through the heart.

I tell you love is nothing if not epic.





Wednesday, July 9, 2014

The West

Towards Hag's Head (M.A. Reilly, Cliffs of Moher [Aillte an Mhothair] Liscannor, Ireland 2008)
The last time I was in Ireland, I convinced my husband to drive across the country so we could see the Cliffs of Moher again.  We were in Dublin for a few days as I was presenting a paper and we had just one day where we could take a drive before heading back to the States.  It was September.  


The Peninsula
by Seamus Heaney
When you have nothing more to say, just drive
For a day all around the peninsula,
The sky is tall as over a runway,
The land without marks, so you will not arrive
But pass through, though always skirting landfall.
At dusk, horizons drink down sea and hill,
The ploughed field swallows the whitewashed gable
And you're in the dark again.  Now recall
The glazed foreshore and silhoutted log.
That rock where breakers shredded into rags,
The leggy birds stilted on their own legs,
Islands riding themselves out into the fog.
And then drive back home, still with nothing to say
Except that now you will uncode all landscapes
By this; things founded clean on their own shapes
Water and ground in their extremity
.

Monday, June 9, 2014

Drifting Off - Seamus Heaney

Birds Lifting (M.A. Reilly, 2011)

Drifting Off

 - Seamus Heaney


The guttersnipe and the albatross
gliding for days without a single wingbeat
were equally beyond me.

I yearned for the gannet's strike,
the unbegrudging concentration
of the heron.

In the camaraderie of rookeries,
in the spiteful vigilance of colonies
I was at home.

I learned to distrust
the allure of the cuckoo
and the gossip of starlings,

kept faith with doughty bullfinches,
leveled my wit too often
to the small-minded wren

and too often caved in
to the pathos of waterhens
and panicky corncrakes.

I gave much credence to stragglers,
overrated the composure of blackbirds
and the folklore of magpies.

But when goldfinch or kingfisher rent
the veil of the usual,
pinions whispered and braced

as I stooped, unwieldy
and brimming,
my spurs at the ready.

Author Notes

from Sweeney Redivivus
from "Station Island" (1984

Saturday, August 31, 2013

Castilian Spring: Seamus Heaney

This poem arrived in email from The Kenyon Review this morning.
Enjoy.




weekend-readsCastalian Spring


Seamus Heaney

Thunderface. Not Zeus’s ire, but hers
Refusing entry, and mine mounting from it.
This one thing I had vowed: to drink the waters
Of the Castalian Spring, to arrogate
That much to myself and be the poet
Under the god Apollo’s giddy cliff—
But the inner water sanctum was roped off
When we arrived. Well then, to hell with that,
And to hell with all who’d stop me, thunderface!
So up the steps then, into the sandstone grottoes,
The seeps and dreeps, the shallow pools, the mosses,
Come from beyond, and come far, with this useless
Anger draining away, on terraces
Where I bowed and mouthed in sweetness and defiance.


Friday, August 30, 2013

Large Loss: Seamus Heaney

Field Notes (M.A. Reilly)
When word came that you had died, so little was left.
I turned to reread your words, to refill the loss with your voice.



Seamus Heaney - Blackberry Picking by poetictouch

Song
A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.
There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens.


Saturday, October 8, 2011

Fieldwork




Birds Lifting (M.A. Reilly, 2011)



SONG

A rowan like a lipsticked girl
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.

There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens.

-Seamus Heaney, 1979

Man Watching (M.A. Reilly, 2011)

A DRINK OF WATER

She came every morning to draw water
Like an old bat staggering up the field:
The pump's whooping cough, the bucket's clatter
And slow dimineundo as it filled,
Announced her. I recall
Her grey apron, the pocked white enamel
Of the brimming bucket, and the treble
Creak of her voice like the pump's handle.
Nights when a full moon lifted past her gable
It fell back through her window and would lie
Into the water set out on the table.
Where I have dipped to drink again, to be
Faithful to the admonishment on her cup,
"Remember the Giver," fading off the lip.

                                                        -- Seamus Heaney

Fog Lifting (M.A. Reilly, 2011)

Thursday, August 18, 2011

An Open Letter to Each Researcher Cited by PARCC in their Support of Close Reading

This is a copy of the email I sent to each researcher cited by PARCC as supporting close reading. I am interested in seeing their replies and will post accordingly with permission.

Dear Professor XXX,

I have been reading the Common Core Standards, PARCCs testing frameworks, as well as the cited research that these two groups list as support for close reading as the "guiding principle of the standards" and central focus of assessment for 60 million children. Frankly I am hoping you can explain how a single way of reading represents the whole of such an embodied act.  I'm a mom with a 12 year old son and the narrowness of this approach (imagine this is it for 13 years) makes more than a bit wary.

This is the paragraph that PARCC provides:

Close Reading of Texts

As noted above, the close reading model is a central guiding principle of the standards and as a result will be a central focus of the PARCC Assessment System. The Model Content Frameworks provide guidance for focusing on the close, sustained reading of complex text. Close reading stresses engaging with a text of sufficient complexity directly and examining its meaning thoroughly and methodically. It emphasizes using texts of grade-level-appropriate complexity and focusing student reading on the particular words, phrases, sentences, and paragraphs of the author, encouraging students to read and re-read deliberately. By directing student attention on the text itself, close reading empowers students to reflect on the meanings of individual words, the order in which sentences unfold, and the development of ideas over the course of the text — to ultimately arrive at an understanding of the text as a whole. A significant body of research links the close reading of complex text—regardless if the student is a struggling reader or advanced—to significant gains in reading proficiency, and finds close reading to be a key component of college and career readiness.5

And this is the 'research' (not sure all of this actually is research) cited:
  1. Ericcson, K. A., and W. Kintsch. 1993. The Role of Deliberate Practice in the Acquisition of Expert Performance. Psychological Review 100(3):363–406; 
  2. Plant, E. A., et al. 2005. Why study time does not predict grade point average across college students: Implications of deliberate practice for academic performance. Contemporary Educational Psychology 30; 
  3. Ericcson, K. A., and W. Kintsch. 1999. The Role of Long Term Working Memory in Text Comprehension. Psychologia;  
  4. Kintsch, W. 2009. Learning and constructivism. Constructivist Instruction: Success or failure? eds. Tobias and Duffy. New York: Routledge; 
  5. Hampton, S., and E. Kintsch. 2009. Supporting Cumulative Knowledge Building Through Reading. In Adolescent Literacy, Field Tested: Effective Solutions for Every Classroom, eds. Parris, Fisher, and Headley. International Reading Association; 
  6. Heller, R., and C. Greenleaf. 2007. Literacy Instruction in the Content Areas: Getting to the Core of Middle and High School Improvement. Washington, DC: Alliance for Excellent Education; 
  7. The Education Trust. 2006. Gaining Traction, Gaining Ground: How Some High Schools Accelerate Learning for Struggling Students; ACT. 2006. Reading Between the Lines. 
Which text that you've written from this cited list would you recommend that I read that might explain why close reading should be the only approach an entire country adopts for all of its public school children? I am thinking about this as quite recently my husband and I were talking about Seamus Heaney's wonderful book, The Spirit Level.  You may have read it. Heaney closes the book with the poem, Postscript.

Postscript

And some time make the time to drive out west
Into County Clare, along the Flaggy Shore,
In September or October, when the wind
And the light are working off each other
So that the ocean on one side is wild
With foam and glitter, and inland among stones
The surface of a slate-grey lake is lit
By the earthed lightning of a flock of swans,
Their feathers roughed and ruffling, white on white,
Their fully grown headstrong-looking heads
Tucked or cresting or busy underwater.
Useless to think you'll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open.


I was telling my husband that the closing lines of the poem stopped my breath and did what I suspect the poet might have wanted, caught my heart off guard and blew it open. My husband said how when he read the poem--read it aloud, he recalled a rather cool morning in Ireland when the two of us, much younger than we are now, were motoring about, newly in love, and had stopped in at a pub for a bit of hot tea. He was recalling how soothing that morning had been.

I'm pretty sure we weren't having a 'close reading' lesson when we read The Spirit Level. In some ways we might have been following cummings' adage about feelings being first. I worry that this 'read like a detective' (David Coleman's phrase, not mine) dictum will harm my child, narrow his understanding of the many reasons we read, and above all else will dim his pleasure of the text.

I am curious as to what you have to say as it is your work that is cited in support of such a single method of reading to be exclusively used for all children beginning at age 8 until they exit the system at 17 or 18. I await your response.

Sincerely,
Mary Ann Reilly

Sunday, August 29, 2010

Catching the Heart Off Guard: Teaching and Art Making

Gate. Graveyard at Sant'Anna in Camprena
Last summer I traveled to Tuscany to learn with photographer, Doug Beasley who "taught" a Zen and Photography course. There were 8 of us in the course and we stayed along with 20 other artists at Sant'Anna in Camprena Monastery in Pienza, Italy. I was fascinated by the cemetery at Sant' Anna and spent a lot of time making images, such as Gate, Crosses, and What is Written. I was captivated by something there and through the camera lens sought to have it speak to me.
Crosses.  Graveyard at Sant'Anna at Camprena.
 
In the year since, I have made many other images and along the way have misplaced the primacy of the spiritual. Photographing in the Badlands overwhelmed me. Working as an administrator instead of a professor has sapped my energy. I felt drunk on the drama of these landscapes, removed from what matters most. As I have written in other blogs, returning home left me without sight or will to lift my camera and shoot. This afternoon I watched a wonderful documentary film about Doug Beasley that I found inspirational and it rekindled the belief that making art is seeking the spiritual. In the film Doug says:
Photography isn't about finding the most spectacular place or photographing places that haven't been seen before...it is more how we approach our subject matter and where that comes from is our internal space. Emotionally where we're at. Spiritually where we're at. To me that is more interesting to investigate that space than to always be trying to find a new destination.

I have been thinking a lot about what Doug had to say about internal spaces from the perspective of an artist and a progressive educator.  In many ways, the internal landscape that guides what I privilege has been obfuscated by the bombardment of false idols, both in art making and in teaching.  Instead of listening, I've been talking.  Instead of being patient, I have dismissed the ordinary. Instead of being the stillness I seek, I have been overly busy.

What is Written. Sant'Anna at Camprena

What I have forgotten is that every artwork I have made as a teacher or an artist has required an exchange of energy. This is why programs and national standards cannot work as they displace the idiosyncratic practice and the passion of the teacher with a prepackaged certainty.  So too, do consuming photography how-to books that offer photoshop tricks misdirect vision making, or partaking in a steady diet of postcard destinations. In each case, the external object becomes a substitution for seeing and reduces the need to feel and think in novel ways.  They are epic constructs with predictable, if not certain, outcomes that have been made elsewhere and arrive or are chosen with the expectation that the teacher or artist will enact as directed. Over time I wonder if the teacher/artist doesn't reach for these, not as substitution but as mistaken senses of self. At best, they are lifeless and terrible distractions. 

The works that speak most clearly to me, even after the passage of time, are ones that surprised me, unsettled me, confused me, and found me.  Teaching and art making are a lot  like the closing lines of Seamus Heaney's lovely poem, "Postscript".  He writes:
...Useless to think you'll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open.
Yes, that is what it means to make art as a photographer and as a teacher--to open to that which comes at you and in doing so to find yourself surprised, your heart caught off guard and blown open.

Saturday, December 5, 2009

Self is a Location

Be for Me, Like Rain (M.A. Reilly, Wall Street, NYC, 2009)

In Seamus Heaney's (2007) poem, "The aerodrome," he concludes:

If self is a location, so is love:
Bearings taken, markings, cardinal points,
Options, obstinacies, dug heels and distance,
Here and there and now and then, a stance.

Bridge in Fog (M.A. Reilly. George Washington Bridge, 2009)

I have long been enamored and intrigued by the people, locations, and circumstances native to Manhattan. Through my camera, I have sought to represent the bearings taken in ordinary lives: a couple out for a ride on a bike, a bridge in fog, a woman beneath an umbrella. Like most things human, Manhattan is a complex place, resisting the ease of categories. At once it is privileged, poor, nomadic, broken, healed, rooted, and common.


Etta and Butch Go for a Ride
(M.A. Reilly. Washington Square Park, 2009)

Although born in Ireland, I have grown up in the shadow of Manhattan and its rhythms have (in)formed the ways I see and fail to see. What I know about the geography of home has allowed me to look closer at all I don't know. In this manner, the familiar houses the unfamiliar, like an old woman houses her younger self.


Homeless (M.A. Reilly. 57th Street. 2009)

William Faulkner noted:
"I discovered that my own little postage stamp of native soil was worth writing about and that I would never live long enough to exhaust it."
As an emerging artist, Faulkner's advice resonates with certain truth I turn an ear to hear.

This visual record, a portfolio of sorts,  is a testament of the bearings taken, markings noted, and cardinal points recorded. It is intentionally contradictory as stances are made (now and then) against such grain.


Take the A Train (M.A. Reilly. Harlem, 2009)

Through the lens, I have witnessed people love, be loved, and not. While shooting, I have found myself repeating a line in my head from Kathleen Norris's (2001) Dakota: A Spiritual Geography. She writes: "You have only to let a place happen to you...the loneliness, the silence, the poverty, the futility..." (p. 220).


It is in letting a place happen that I have learned (perhaps unlearned) how to hold still. A challenge that remains often uncomfortable and nonetheless important. This bearing witness is the closest thing I know to what might be called grace. As such it carries both burden and blessing.


Bearings Taken (M.A. Reilly. Brooklyn Bridge, 2009)

Works Cited
Heaney, S. (2007). District and circle. New York: Farrar, Strauss and Giroux.
Norris, K. (2001). Dakota: A spiritual geography. New York: Mariner Books.