Ripples

Sitting at the window in the loft above my studio I look over the pond. The reflections of the trees show only the slightest rippling. As if on cue, two geese quack through the air and splash-land. What are they communicating at this time of world crisis? 

 The poet Rilke wrote:

I live my life in widening circles
that reach out across the world.
I may not complete this last one
but I will give myself to it.

Their bobbing beaks pierce the flat surface of the water creating a pattern of two interlocking circles. As these two rings expand outwards, their individual rings dissolve and form one large circle, then another, each one widening into more circles. The geese have become a great concentric ring-making machine, the vibrations extend almost across the pond. Copernicus would have been charmed by this binary sun. I think of all the human beings on the planet, how we haven’t seen the rings of our interconnectivity and interdependence quite this graphically before the pandemic spread. Can we deeply know that everything we do has repercussions that extend far out into the world? Will we remember this lesson?

I am taking a breather. I enjoy this opportunity to focus my attention on the geese, and not on the airspace around us. I have only been watching for a few minutes; they will glide and bob hour after hour, day after day, week after week, month after month. I don’t live within this kind of repetition; I seek what’s new. Something to assert, or is it insert my presence into the world? I always have plans, projects, things to do.

The geese begin swimming towards shore. One goose approaches and looks back, its mate is not following, so it turns back. I lose track of them and then espy them floating in the reeds along the edge of the pond. They occupy their own world in the cold water, churning out circles as they bob down and up with precision.

I consider how the geese are oblivious to the virus. They don’t know that my daughter and her boyfriend have moved in with us or that we are isolating ourselves physically from the rest of the world. They don’t know the longer I watch them, the closer I feel towards them. 

Two Geese on the Pond

Two Geese on the Pond

I’ve lost track of the geese, where did they go? Meanwhile, raindrops fall from overhanging branches into the pond making their own gentle circles. 

Then I see one goose chase its mate out to the center of the pond, its neck hammering forward with surprising violence. Is it propelling its mate to swim faster or propelling itself with this motion? The geese are responding to a competitor who has entered their airspace. The intruder kept flying, and my two friends are quiet again, tucked near shore, bobbing for food. A green noodle of pond weed hangs from one of their beaks. The other has its back to me and I watch its webbed feet vigorously paddling to keep its backside lifted with its head and neck submerged. Is it seeking something more delicious, or more difficult to pull up, or something deeper? The tipping point is so hard to maintain. 

Even in the midst of social distancing, let’s keep our circles widening. There are so many people who will need help financially, emotionally, spiritually, and physically. Toss pebbles into the pond, send prayers, call your friends, let love ripple the world.

I watch a little longer. I begin to feel like I know which is male and which is female. It’s quite silly, why would I even think that? One goose seems quieter, more delicate, and maybe a little smaller. But, of course, that’s all wrong, my personal bias. There are many species where the female is larger than the male. 

Compassion increases the more attention we give something. Isn’t that the way the world works?  In this time of social isolation, we need to be in touch, send out our love, and share what others are experiencing.

I have recommitted to posting a blog on Sundays as a way for us to stay connected. It may not be polished prose, but I will try to offer some small distraction from the numbers and charts. I send my love to all of you, each of you facing your own challenges, each of you dear to me.

The second and last stanza of Rilke’s poem is :

I circle around God, around the primordial tower.
I’ve been circling for thousands of years
and I still don’t know: am I a falcon,
a storm, or a great song?

A storm is raging, let’s be the great song, bow our heads, and let the ripples echo across the planet. 

We Are Connected, LH, 2020, wax.

We Are Connected, LH, 2020, wax.


Forest Tales

Our quartet, my stepfather Bill, daughter Ariel, and partner Blase, returned one week ago from our trip to Tibet. However, condensing two intense weeks of pilgrimage into a brief blog, like making a few jugs of sweet juice from bushels of ripe apples, takes time. The apples need to sweat, I need to distill the experience.

Meanwhile the Catalpa tree with its large heart-shaped leaves outside my studio window is no longer green and leafy, but is sending brown flying carpets everywhere. And in the woods, the sight-lines are clear as tree branches lay bare the sky, and the spiced air welcomes the forest walker.

Next Sunday morning, November 17th at 11 am, I invite you to join me for a forest walk in one of Stow, Massachusetts’ conservation areas, The Leggett Woods. Here along a meandering trail, I installed thirteen sculptures, a world of acorn-capped acrobatics, a mother and child, a boy and a turtle, a frog, each one fixed onto a forest stone. The storyteller sits near the beginning reading to three acorn-capped children.

Caps for Sale

Caps for Sale

The paths are cleared and covered with wood chips so discovering each one is not difficult. The Stow Conservation Trust, the private land preservation organization in Stow, hopes to attract more families to explore their trails by creating special places to visit and enjoy. 

Leggett-Hidden-Path-Opening-Invite-Poster.jpg

The genesis of this project began along Old Frog Pond Farm’s woods trails where a series of bronze meditating figures are permanently installed. They are small, and you would think go unnoticed, and perhaps do for some people, but most others notice one sculpture, and then another, and another, and are delighted by the shift in scale, the quietness, and simplicity of these bronze figures on rocks.

Vita Matisse sitting with sculptures.

Vita Matisse sitting with sculptures.

My granddaughter enjoys sitting on the large rock among them. Other children add acorn caps, a perfect fit for the bowed bronze heads. We don’t encourage interaction with the sculpture on exhibit at the farm, but I thought these acorns caps were a charming addition and have since cast a few figures topped with them. The wood burns out in the lost wax process.

When I was considering a possible sculpture for the Leggett Woods, I thought about a village of sculptures that might encourage children to get down on their hands and knees, and play. Perhaps add some more acorn caps, or build a little house of twigs, or add stones and leaves—an artwork to encourage interaction with the forest life.

The Stow Conservation Trust worked hard to find volunteers to help with the land clearing and creation of the trails. I am especially grateful to the committee I worked with directly, Janet Kresi Moffat, Ann Carley, and Carol Gumbart, and to the Alice Eaton Grant Funds for supporting the commission.

Another person I have worked with for many years is poet, Susan Edwards Richmond. In the first issue of Wild Apples, the journal of nature, art, and inquiry we founded and edited with two other friends in 2006, Susan wrote poetry for a series of my bronze boat sculptures. When I told her about this commission, I hesitantly asked if she might like to write a poem—I knew her creative focus was now on children’s books (Bird Count published by Peachtree Publishing Company came out last month!). As the date for installation got closer, Susan wrote, “Where are you installing the sculptures in Stow?  Could you use another hand? I can meet on the 11th as long as it's after 1:45 pm.”

It was a kind offer, but among Susan’s many talents is not operating a hammer drill or epoxy gun. I didn’t reply. She wrote again a few days later, “What time? Would you like some local help? :)”.  This time I answered, “Sure! Maybe around 11? You follow the trail then take the left fork. Can’t miss.”

Susan arrived when John Lowe, my assistant, and I were well into the installation. We’d been there since 9 am. Of course, Susan and I both knew she wasn’t coming to help with the install, but with notebook in hand she immediately knelt down in front of a sculpture.

Susan will be reading the Forest Tales poems at the opening next Sunday. There will be kids’ activities, refreshments, art, nature, and poetry. Hope to see some of you on Sunday, November 17 at 11 am. And I promise a Tibet blog soon!

Directions: Leggett Woods is on Whitman Street just off of Gleasondale Road (Route 62). If you are driving South on Route 62 from the intersection of Route 117 in Stow, go about a mile, turn left at the fork with signs for Honey Pot Orchards , and the Leggett Woods parking area is on your right.

The Storyteller

The Storyteller



The Gift

On Christmas last year my stepfather gave me a gift, but before I started to open it, he said, “Wait. There’s baggage that comes with this gift, Linda.” I know about gifts—after all I am the daughter and step-daughter of anthropologists.

            “All right,” I said, and started opening the wrapping paper.

IMG_2793.jpg

It was a coffee table book on Tibet, one that in all likelihood he had picked up from his living room side table. Bill has been fascinated with Tibet since a brief visit there five years ago.

             “I want you and Blase to take me to Tibet,” he said.

I love this man. He married my mother when I was myself a young bride, and they had a glorious and passionate life until she died in 1997. Bill is now ninety-two—I would do anything for him. He is the one person I often speak to about my mother, a courageous woman who remains a constant inspiration to me. Bill always sends me a note on her birthday.

Bill wanted me to organize our trip, not travel with an organized tour like his previous visit. But Tibet is not easy to enter. You have to travel either from Kathmandu or China. Outsiders cannot visit Tibet as one would a western European country, France for example—climbing the Eiffel Tower, visiting Notre Dame, or taking the train to Versailles. Any person visiting Tibet needs not only a Chinese visa, but a Tibetan visa, and a guide to go anywhere outside of the capital, Lhasa. I made contact with a Tibetan guide service, determined that our trip would benefit the Tibetan people.

I asked my daughter, Ariel, if she wanted to join the three of us, and she jumped at the opportunity. We talked about what painting supplies we would take with us and began looking forward to painting together. Meanwhile, well-meaning friends warned me it would be dangerous to take Bill from sea-level to over 12,000 feet.” They had a point, but when I mentioned this to Bill, he waved it off. “I’ll take Diamox and be fine.”

Obtaining our Chinese visas was the first hurdle. For various bureaucratic reasons Bill’s application was rejected twice, while ours went through after some artful arranging. Several weeks passed and the timing was getting down to the wire. Without Bill’s Chinese visa, we couldn’t apply for the Tibetan visas, and if we didn’t do that shortly, it would be too late. I called Bill.

            “Bill, what do you think?”

            “Maybe I’m just not meant to go,” he said.

            “Well, if you’re not going, we’re not going.”

            “Oh, no!” he said. You must go! The three of you must go without me.”

Getting our visas was arduous, but the re-applications, hotel reservations, letters, documents, and day by day plans had worn me out. I’d spent so much time organizing this trip, arranging, choosing accommodations, and so forth, that I was ready to let it go. Bill was the impetus; without him I was no longer sure about going.

I called Ariel and told her it didn’t seem Bill would get his visa in time and we needed to decide if we would go without him. Blase was on the fence because his mother’s health was failing. I didn’t know what Blase would decide. I hoped he’d come with us, but wanted her to know it might be just the two of us.

“It’s fine just the two of us.” she said.

          “We’ll have to be courageous,” I replied.

           “We can do it.”

She wanted to go no matter what. It was decided. Ariel and I would go with or without the men.

Detail from Journey, Outdoor Installation by Tristan Govignon at Old frog Pond Farm & Studio. Photo: Robert Hesse

Detail from Journey, Outdoor Installation by Tristan Govignon at Old frog Pond Farm & Studio. Photo: Robert Hesse

Blase visited his mother and after speaking with her and his brothers, he felt more at ease about being away and said he wanted to join us. On Monday, I wrote to Samdup, the person arranging our Tibetan itinerary, wired payment for the trip, and gave the ok to apply for our three Tibetan visas. These were being processed when on Thursday afternoon Bill received his Chinese visa from the embassy.  

I wrote again to Samdup:

                        Bill has his visa. I have attached the copy below. Please add him to our trip.

I didn’t know if there was time to re-apply as a quartet, but I was determined to do everything possible to have Bill go with us. Samdup replied that they needed to resubmit everything, but he would see what he could do to expedite the process. We still have not heard definitively, and our flight to Beijing leaves on Thursday, but we are planning to board our China Air airplane, fly to Beijing, and hopefully to Lhasa.

I still wonder a little, especially in the middle of the night, if we are we supposed to go. But I trust that without knowing the reason, there is something important for us to experience. Ariel and I are excited to share this opportunity with Blase and Bill, to visit a country surviving despite the trauma of its recent history, a country rich in spiritual teachings, one that has already brought so much wisdom to the West.

Cover Drawing by Robert Spellman for The Wisdom of Tibetan Buddhism, edited by Reginald Ray, Shambhala Pocket Library.

Cover Drawing by Robert Spellman for The Wisdom of Tibetan Buddhism, edited by Reginald Ray, Shambhala Pocket Library.