What sizzles

in boiling

oil

is the world’s

pleasure:

French

fries

go

into the pan

like the morning swan’s

snowy

feathers

and emerge

half-golden from the olive’s

crackling amber.

Garlic

lends them

its earthy aroma,

its spice,

its pollen that braved the reefs.

Then,

dressed

anew

in ivory suits, they fill our plates

with repeated abundance,

and the delicious simplicity of the soil.

[Pablo Neruda (Ken Krabbenhoft, trans.); Odes To Common Things; New York: Bulfinch Press, 2010, p. 147]

Last year, the potato harvest at the library’s learning garden was measured in pounds – all started from a handful of green tinted, stubby-root covered potatoes that were hiding in the back of my potato box. A couple of months after planting and a couple of days after pulling them from the soil, five middle schoolers scrubbed them clean. Thin sliced, soaked in salt water, lowered into golden oil, the learners turned those potatoes into chips. With a little guidance, work, and patience, garden-to-table went from an abstract idea to a direct and tasty experience. Long after they’ve grown up, they will remember the work it took to grow, harvest, and cook one of their favorite snacks. With Neruda, they may look at their plate of potatoes and know:

Then, dressed anew in ivory suits, they fill our plates with repeated abundance, and the delicious simplicity of the soil.

Maybe, when they say grace, they will be thankful for all the hands that prepared their plate full of food. And maybe, just maybe, it will be their own hands that turn soil and seed into food.

[For the past several years, I’ve been the learning gardener at my local library, leading a summer program for the very young, the middle schooler, and their parents and grandparents with the Marcia, the children’s librarian. Last year, Katarina joined in, bringing her considerable gardening and cooking talents – along with her deep fryer and a potato chip recipe. Although the pandemic cancelled this year’s program, I have faith that it will return in the years to come, and continue well beyond my own leadership.]

Dust of Snow

The way a crow

Shook down on me

The dust of snow

From a hemlock tree

Has given my heart

A change of mood

And saved some part

Of a day I had rued.

[Robert Frost, Anthology of Robert Frost’s Poems, New York: Washington Square Press, 1971, p. 240]

Robert Frost chose Poe’s nevermore black bird, a tree whose distilled nectar killed Socrates, and the form of water that’s beautiful, blinding, and a cause of hypothermia to the unwise.

It’s not always the obvious or the eye-catching that shakes us from our existential stupor – that haze we stumble through, blind to the gift of life that every day presents.

We don’t get a do-over and we can’t reclaim hours long past. But we don’t have to lose the whole day to our own melancholy/boredom/self-pity. Just about anything can snap us back to the present moment.

Thank God.

Once I spoke the language of the flowers,

Once I understood each word the caterpillar said,

Once I smiled in secret at the gossip of the starlings,

And shared a conversation with the housefly

in my bed.

Once I heard and answered all the questions

of the crickets,

And joined the crying of each falling dying

flake of snow,

Once I spoke the language of the flowers….

How did it go?

How did it go?

[Shel Silverstein, Forgotten Language, Where the Sidewalk Ends; New York: HarperCollins, 1974, p. 149]

I don’t know if it’s so much forgetting the languages as it is forgetting that each form of life has its own life and language. It’s one of the reasons I love spending time in the garden and walking in woods, on beaches, and down the familiar streets of this town I call home: my selfish deafness to the languages of non-human life is lifted, if just for a few minutes.

Usually you appear at the front door

when you hear my steps on the gravel,

but today the door was closed,

not a wisp of pale smoke from the chimney.

I peered into a window

but there was nothing but a table and a comb,

some yellow flowers in a glass of water

and dark shadows in the corner of the room.

I stood for a while under the big tree

and listened to the wind and the birds,

your wind and your birds,

your dark green woods beyond the clearing.

This is not what it’s like to be you,

I realized as a few of your magnificent clouds

flew over the rooftop.

It is just me thinking about being you.

And before I headed back down the hill,

I walked in a circle around your house,

making an invisible line

which you would have to cross before dark.

[Billy Collins, The Trouble With Poetry (and other poems); New York: Random House, 2005, p. 58]

I’ll never know what it’s like to be you, only what it’s like to pretend to be you. I’d be wise to remember that. The best I can do: join hands with you and share the secrets of our holy and wholly different lives.

I have wished a bird would fly away

And not sing by my house all day;

Have clapped my hands at him from the door

When it seemed as if I could bear no more.

The fault must partly have been in me.

The bird was not to blame for his key.

And of course there must be something wrong

In wanting to silence any song.  Robert Frost

[Frost, A Minor Bird; A New Anthology of Robert Frost’s Poems; New York: Washington Square Press, 1971, p.199]

Sometimes, the songs I try to silence are beautiful. Other times, perhaps they are the ones I most need to hear.  In a world full of people singing their truth or spinning lies, the least I can do is pay attention.