Morning breakfast and talk preparation at Cure, right around the corner from where I was staying
I put my feet firm on the earth and with clarity and determination sung my voice and spoke from my heart
“Ten Percent Tithe” the two matrix print on circa 1960 Missoula County Plat Book pages that I distributed to conference attendees
Conference closing dinner. A wonderful gathering of map makers, friends and maps.
The looming presence of power and violence; Wisconsin 64
I was not impressed, I was disturbed. . . the largest Navy base in the world
My poster-map contribution to the conference; “Put Earth First” and “Because Loving Her, Tithe”
A visit to the local Art Museum; Felipe Jesus Consalvos’s “The American System”
A visit to the local Art Museum; South African Ubuhle Women ”Beading From The Soul”
‘Lots of students get trapped in the effort to be original. After fifty million paintings have been painted you can see that it is impossible to be highly original. There is always precedent. Who would want to be that original anyway? A better intent is to see that one’s work is truly one’s own — an honest expression of deep personal feelings’
Eighteen seconds pouring 31.5 grams is too quick I do admit. Need to adjust the grind!
Over a freshly made cappuccino this rainy April day I thought of and reread T.S.Eliot’s masterpiece, the mystical poem Four Quartets. “Midwinter spring is its own season” (the opening lines of No.4 Part 1 of Little Gidding) . . . like today half spring, half winter.
But the excerpt below is from the first of the five sections of No.3 Part 1, The Dry Savages, where, I believe Eliot begins to address our human pain which is connected to the way we think of ourselves and act as goal-driven, greed-driven, self-obsessive individuals instead of as part of a larger whole, a much larger whole . . . letting go of our ego is a death, a small and continuous dying, a challenging process.
“The poem discusses the nature of time and what humanity's place is within time. Life is described metaphorically as traveling in a boat and humanity's fixation on science and future gain keeping the travelers from reaching their destination. Within the poem, Eliot invokes the image of Krishna to emphasize the need to follow the divine will instead of seeking personal gain. . . Krishna's and Arjuna's discussion from the Bhagavad-Gita on acting according to the divine will along with allusions to Dante's Paradiso, the philosophy of Heraclitus, and the Book of Common Prayer. In regards to these allusions, Eliot would mark up his own editions of the works to note where he used quotes or allusions to lines within his work. In particular, his edition of the Mahabharata included a page added which compared battle scenes with "The Dry Salvages.” Wiki.
I do not know much about gods; but I think that the river
Is a strong brown god—sullen, untamed and intractable,
Patient to some degree, at first recognised as a frontier;
Useful, untrustworthy, as a conveyor of commerce;
Then only a problem confronting the builder of bridges.
The problem once solved, the brown god is almost forgotten
By the dwellers in cities—ever, however, implacable.
Keeping his seasons and rages, destroyer, reminder
Of what men choose to forget. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and waiting.
His rhythm was present in the nursery bedroom,
In the rank ailanthus of the April dooryard,
In the smell of grapes on the autumn table,
And the evening circle in the winter gaslight.
The river is within us, the sea is all about us;
The sea is the land's edge also, the granite
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation:
The starfish, the horseshoe crab, the whale's backbone;
The pools where it offers to our curiosity
The more delicate algae and the sea anemone.
It tosses up our losses, the torn seine,
The shattered lobsterpot, the broken oar
And the gear of foreign dead men. The sea has many voices,
Many gods and many voices.
The salt is on the briar rose,
The fog is in the fir trees.
The sea howl
And the sea yelp, are different voices
Often together heard: the whine in the rigging,
The menace and caress of wave that breaks on water,
The distant rote in the granite teeth,
And the wailing warning from the approaching headland
Are all sea voices, and the heaving groaner
Rounded homewards, and the seagull:
And under the oppression of the silent fog
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than the time of chronometers, older
Than time counted by anxious worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And piece together the past and the future,
Between midnight and dawn, when the past is all deception,
The future futureless, before the morning watch
When time stops and time is never ending;
And the ground swell, that is and was from the beginning,
T. S. Eliot Four Quartets: The Dry Savages 1941
Eliot then goes on to end the poem with these lines:
And right action is freedom
From past and future also.
For most of us, this is the aim
Never here to be realised;
Who are only undefeated
Because we have gone on trying;
We, content at the last
If our temporal reversion nourish
(Not too far from the yew-tree)
The life of significant soil.
Give me call, text or eMail and stop by the shop to share a cup of coffee, tea or filtered water . . . and freshly shared conversation.
“Inside the river there is an unfinishable story and you are somewhere in it and it will never end until all ends.”
Mary Oliver | “What Can I Say,” Swan: Poems and Prose Poems
October 13th through November 19th M-F 10 to 5 you’re invited to stop by toMAKE™ during the 7th annual Coffeeneuring Event and I’ll make you a cup of coffee; espresso, cappuccino, pour-over, caffè latte or tea. I don’t do cup art and there is no charge. Bring your own mug or choose from my selection in the print room. You do have to stop and drink it in the shop with me. If my hands are inky you might have to pour your own (I’m busy on a new edition after all). AND you should check out the official rules if you are doing Coffeeneuring, otherwise just come on over by the alley bulletin board.
You’ll need to make a reservation first; so eMail, text or call me beforehand. Just click on the mug to the right for the link if you do not already have my contact & location information; please introduce yourself, your liquid preference, and suggested day & times.
I use filtered water from the Missoula aquifer, freshly roasted organic beans from Blackcoffee; Costa for espresso, Ethiopian Sidama for pour-over, have Yogi Tea Vanilla Hazelnut & Licorice Mint herb teas, or Tazo Zen green tea. I use local organic whole milk (if you need an alternative you should bring it) and there is a wee bit of sugar & honey around someplace and unsweetened vanilla extract.