Peter Matthiessen - May 22, 1927 – April 5, 2014

"In a dream I am walking joyfully up the mountain. Something breaks and falls away, and all is light. Nothing has changed, yet all is amazing, luminescent, free. Released at last, I rise into the sky . . . This dream comes often. Sometimes I run, then lift up like a kite, high above earth, and always I sail transcendent for a time before awaking. I choose to awake, for fear of falling, yet such dreams tell me that I am a part of things, if only I would let go, and keep on going. "Do not be heavy," Soen Roshi says. "Be light, light, light - full of light!"
 - Peter Matthiessen
commonplace

"The secret of the mountain is that the mountains simply exist, as I do myself: the mountains exist simply, which I do not. The mountains have no "meaning," they are meaning; the mountains are. The sun is round. I ring with life, and the mountains ring, and when I can hear it, there is a ringing that we share. I understand all this, not in my mind but in my heart, knowing how meaningless it is to try to capture what cannot be expressed, knowing that mere words will remain when I read it all again, another day."
 - Peter Matthiessen
The Snow Leopard  Read more…

Peter Matthiessen

elemental

Curious beginnings determine her artistic sense of form, coloring stories of her village. Cutting, planting, harvesting, complete slow rhythm of life. Her skill shines with every new expression, her heart sings.

Her simple direct feeling is all sensation.

Art enables her this beauty. She describes what she draws. Her words fly through forests, colorful birds resplendent peacocks birds of paradise.

A blind conversation developed a through line. Turn a blind eye.

Blindness listened. Blindness heard muted laughter before intuition gestured pink floating word worlds.

Laughter danced with exhaled attachment.

Blindness danced on through late yellow faltering light penetrating bamboo leaves spreading themselves over banana baskets impaled on swinging posts. Literally.

A bike bell. A young girl sat quiet watching the V girl do her toenails. Cutting, trimming, lemon/lime soak, cuticles, clear before applying a silver hued glossy glean. Nail by nail.

Blindness solved the mystery of sight crying tears of silence. A van of blank faced white Europeans trapped behind glass held rampant desires and expectations on laps. Fidgeting with uncomfortable languages floating into inner ears. Assaulting their long painful strides navigating tomorrow’s promises.

Blindness resolved to practice the subtle art of Tai-chi with precision.

Blindness exchanged blue ink for a dark shade of green. A handheld hair dryer waved hot air over a shampooed head. Mirrors whispered secrets.

Elements of silence said farewell. A series of eyes investigated decompression while swallowing fresh yogurt with peach slices near afternoon’s languishing empty promises intent on discovering new, make it new day by day. Explanations have to end somewhere.

In her village, the other world, Blindness threaded new beginnings as her loom waited for pressure and tightness between notes feeling sunlight dress saliva beads blending a weave, texture, design, saying hello Beauty.

after ice

One day, Bliss's part-time lover said, buy me a TV.

NO.

You have a job, a TV, a mother, a 12-year old daughter, two brothers, no father and no husband. I gave you money to buy a bike for your daughter and she lost it, money for clothes, money for medicine, money for food, money for temporary naked lust and currency sobriety. You play me for a sentimental fool. You're fucking crazy.

Her arrival was sporadic at best. She visited at 8:37 for a shower, fucking and another shower. 

He explored her lips, thin neck, small ears, crest of skin throat, narrow brown shoulders, pinpoint breasts with tongue talk, flat belles letters, long legs and played his way into her valley of potential.

It is a gateway toward isolated animist villages up river. Up The River Of Darkness. Up the Tonle Srepok River. The Apocalypse Now river.

The river overflowed with extended tedious boring years of silence singing a slow meandering song before being punctuated by random acts of violence, gunfire, and exploding land mines swallowing eternal cries for mercy as innocent men, women and children were slaughtered in fields, homes, and villages along twisted dirt jungle paths or murdered inside animist cemeteries wearing crude carved faces remembering the dead with ceremonies, laughter, sacrifice and rice wine, hearing the low dull roar of high altitude bombers releasing enraptured napalm canister lightning bolts through clear skies rendering burning mountains and jungles obsolete, accompanied by the steady rhythm of a girl sawing ice.

Her frozen bright future dream evaporated.

Someone said there was a war, she said. My mother saw a plane. She thought it was a bird. She wove the image into indigo cotton with yellow, blue and red silk thread. All the women weave here. Men don’t have the patience.

They love hunting and killing. She saw a whirling bird, a helicopter. She wove it along with our traditional motifs; weavers, people carrying water, harvesting, dancing, sitting, resting, flowers, fields, cows, chickens, ducks, birds, banana and palm trees, rivers, sky and nature. She weaves our long story.

I weave after ice.

collecting dust

One day he climbed through the center of Bali inside magical light past an extinct sacred volcano at Lake Batur carrying spare ammunition, a small portable machine, a map carved on narwhal bone, a roll of scented four-ply toilet paper, codices or painted books and texts on bark paper called Amate, and cactus fiber including animal skins and dialogue of Mayan origin.

His hair caught fire. Gathering flames he lit a piece of bark for guidance. He mixed volcanic ash with water, creating a thick paste of red ocher, a cosmetic balm rich with antioxidants. He applied this to his skin to gain entry and passage through the spirit world of ancestors.

To become clay he created clay. He needed dust. He collected dust and minute grains of mica. Teams of gravediggers, weavers, butchers and typists explored rain forests, jagged mountains and impenetrable jungles collecting dust.

Hunters dived into, under and through massive Columbia waterfalls near tributaries where the confluence of Northwest rivers gnashed their teeth, snaking past abandoned Hanford nuclear plants where fifty-five million gallons of radioactive waste in decaying drums left over from W.W. II slowly seeped 130 feet down into the ground toward water tables.

The waste approached 250 feet as multinational laboratories, corporations and Department of Energy think tanks vying for projects and energy contract extensions discussed glassification options and emergency evacuation procedures according to regulations and Robert’s Rules Of Order inside the chaos of their well ordered scientific communities.

Tribal survivors ate roots and plants garnished with entropy.

Survivors passed through civilizations seeking antiquities. They reported back with evidence sewn into their clothing to avoid detection at porous India-Tibetan borders. They severed small threads along hemlines, Chinese silk gowns and Japanese cotton kimonos. Their discoveries poured light rays into waterfalls rushing over Anasazi cliff dwellings into sage and pinion forests.

Survivors arrived at a mythopoeic part of their journey. They reflected on the unconscious residue of social, cultural, ethical and spiritual values.

They needed masks. They needed to understand the underlying mysteries inside death masks. They confronted the realm of spirit. They bought masks in open air markets on their pilgrimage. Masks signifying the dignity of their intention thwarted demons and ghosts. They became spirits dancing in light.

Everything was light in their shamanistic interior landscape. They let go of the ego, Ease-God-Out, detached from outcomes, eliminated the need for control or approval, trusted their spirit energies, and remained light about it.

Inside light with slow fingers and long thin ivory nails they turned clay into pots. Spinning spirals danced on a wheel of time. They finished throwing them, used them for tribal ceremonies and smashed delicate clay pots to earth. They exploded into the air creating volcanic ash coating everything in a fine dust. He dug into the soil of his soul. He scattered raw turquoise stones on a trail of sacrificial tears, on a long walk through seasons and countries.

A Century is Nothing, Subject to Change.

wather, Winning the Turf, Work in the stones

From Achill Sounds, a collection of poems by Thomas J. Phalen, a friend. 

Wather

There was a mad poet
Hawking his verse
On the streets of Galway City.
And I watched him pronounce Wather in Irish.
His mouth, a kiss around it:
Ooowhishka, he said.
The whisky in aqua vitae,
The Fionn Uisce in Phoenix Park,
That the conquerors’ tongues
Had such a hard time with.

Winning the Turf

I swept out the ashes, cold on the stones,
Bent to the task in the dawn gloom.
The wind skirled laments in the too skinny flue
And out the window, the threat of more rain.

There on the stones, fumbling for cold
I stacked and balanced the turves
Built there a redoubt sturdy and heaped
As Brigid Moran had once shown me.

The Morans have turbary rights in the bog
She’d said, as she struck the match smartly
It’s Moran turf, surely, we’re burning this morning,
As her yellow flame danced and grew bold.

She’d bent to the task, all business it seemed,
And mid-wived the flickering flame.
Blew on it once, then twice, like a bellows
Brought it forth in the forge of the hearth.

***

I’d seen all the boghollows hewn in the heather
As I’d ambled the brambled boreens
Seen turves helter-skelter, heaped up from these rents
Slane marks etching the faces.

I imagined her da at the face of a bogbank
Where the bog water rilled at his heels
Inelegant, red-faced, in blue overall
His Wellingtons thick with muck spatter.

Slaning it deftly, six bars deep,
And heaving sods high to the spreader
Who barrowed them heavily by donkey and creel
And footed the turf stacks in clamps.

Sputtering, puffing, like a kettle at gallop
Delving and heaping the sods
As the slow day turned down and a blanket of mist
Tucked them into a distant soft weather.

***

My match flared up hugely in the grey morning cold
And I touched it to paper and shavings
Watched it there kindle, smoulder, and smoke,
Hesitate, catch, and then take.

My turf fire blossomed all orange and bright blue
Putting chase to the slate day’s cold weight
This light, heat, and life, all up from the mud -
The mud of fair young Brigid’s home.

Work in the Stones

They bled the fields of the stones
Back breaking
And by the thousands.
Snaked the walls right round
Fitting and snugging flat the faces.
They tucked the dead weight tight
Sinuous and sturdy,
Running from here to nowhere
But not in the fields now.
‘Til the hills were striped and boxed.
And the work,
The low-down, rain-sodden work,
Held forever
Like a breath
In these stone walls.

Up close, the copes, some fallen,
Bear down on the batters
The throughs and the heartings
Buried in the heap of them.

The binders hewing them
Together from the heap fall
The batter lines spreading out
To the wet foundations
The wall heads at the corners
The joints broken with coverstones.

And the squeeze stiles
To pen the bulls
But a lunkie or a smoot
For the wayward lambs.

The work,
The heavy dull-thudded work,
Deft and thumb smashing,
Cunning and cruelly hard,
Here, forever, by the side of this road,
Admired and ignored.