it is our new elsa sass peony, grown from a root that was gifted to me last fall.
we planted it carefully, following every instruction, with the eyes of the root system facing up, in exactly the right depth of soil. it was all new to us and we were eager to learn how to properly care for this amazing flower. i placed painted rocks at the site of this root and an amalia olson we also planted. and then we waited. and through fall and into cold winter and then, finally, spring, we waited.
and then, in later april, the maroon sprouts appeared. there were a plethora over by where our one other peony is – the one with hot pink blooms, a transplant from a friend’s garden that zealously grows each spring. and there were a couple tiny sprouts by our painted rocks, indicators of at least the possibility of a little success. i took photographs and was pretty excited.
these are small plants this year, only a few stems. yet they each had a couple buds – tightly wound – promises of blooms. and so we kept a watchful eye and carefully placed fencing to prop them up – these fragile stems against the spring storms.
the pink peonies exploded into being. their scent wafted through our backyard and into the open windows of our house. it is an amazing display of color, a celebration of flower!, a double peony orchestral reminder of beauty.
and then, ever so slowly, the elsa sass opened to the sun. the white bloom – like a cup of petals – in slow motion, responding to a few warmer, sunnier midwest days.
i would have been absolutely content if this bloom had simply stayed exactly like this. i was taken by its sheer beauty, its purity, overwhelmed by its sweet fragrance.
maybe it’s the state of the world, the tenuousness of our land. maybe it’s an inventory of time – both that which has gone by and that which is ahead of us. maybe it’s simply presence – the moments gazing at something so beautiful you can hardly believe its perfection. in any case – for whatever the reason – i was obsessed with this stunning flower.
this one blossomed peony – this one bud that slowly unwound its way into the world – was a light for me. it filled me up. it reminded me to breathe. and – in the most-amazing way – this tiny cup of petals lay bare the lesson to hold gently all within me.
the warm morning breeze was blowing in the west window. the sun was streaming across the quilt. dogga was laying at our feet and we were sipping coffee. we could hear the slight echo of the windchimes out back and the birds were singing up a symphony.
perfection.
in-between all the other moments – the ones that are not so perfect – somehow there slips one that is.
and the axis of the earth gives a little shake-off and the flecks of yucky-dust that have accumulated from those other moments fly off.
it was the rip in the petal that attracted me. this stunning white bloom in the woods, surrounded by underbrush, green leaves and many seemingly-perfect flowers, this was the one that stood out.
kintsugi is a japanese art. it is the practice of putting broken pottery pieces back together again with gold. it is metaphoric self-care. it is the celebration of that which is difficult making you stronger. it is the holding most gently and most admiringly that which is not perfect. it is creating something more beautiful, more unique and more resilient from something broken.
this bloom in the woods needs no gold. its purity and absolute allure are natural. it does not suffer illusions of self-conscious expectations nor does it pine over flaws nor does it wallow in the not-good-enoughs. it simply and silently leans toward the sun in all its glory.
and it wins my vote as the most-beautiful, dazzling the forest floor, reminding me, once again, to have gratitude for all the imperfections that make me me.
it all looked pristine for a while, after it snowed. a fresh blanket of white covering our yard and its blemishes. for the time before the wind started blowing and the snow started shifting, you couldn’t tell that the front yard was all torn up, that there is a large grassless mound – like a dune on the long island coastline – that stretches from our house all the way to the street.
the backyard also. pristine. a white canvas, dotted with tall old evergreen trees, ornamental grasses gone to brown, feathery plumes waving, the pond frozen and still.
there are folks whose yards will continue to look that way – pristine. the snow will remain untouched, smooth, perfectly showcasing shadows as the sun peers through tree limbs and plants in fallow.
the moment we open the back door and dogdog runs out, the illusion of perfection ceases. pawprints obscure the shadow art as he tears into the blanket of snow, nose down, gleefully devouring it as he goes. he is a winter dog. there is no doubt about it. he comes in reluctantly – laden with snow – after laying on the deck on top of snow, surrounded by snow, under new snowfall. it is his time.
sometimes i wonder if we can just save the front yard, just not walk in it, just not let it be disturbed. we can look out the window and gaze at that which makes everything profoundly beautiful.
but then there are squirrels dancing about in the snow and the tiny footprints of birds. there are prints of a stray cat and maybe a raccoon or two. the grasses dip under the weight and the gusts, brushing aside snow like small brooms. there are bootprints of the guys who installed our temporary sidewalk and shoeprints of our postal, ups, fedex, amazon delivery people bringing us mail, cards from people we care about, packages of things we need. the wind has blown off the straw-covered mound, exposing the filled-in trench of a new water service line, a tiny winter miracle in itself.
and i realize that as stunning as pristine is, it is perhaps illusory and most definitely ephemeral.
instead, we celebrate the messy, the prints in the snow, the elated dog, the windblown fresh snowfall, creatures seeking food and shelter, the interrupted shadows.
every summer i break one of my two little baby toes. every single summer. last summer alone i logged tons of miles on my $2 old navy flipflops as a result. i even talked about it on this blog. what did i learn? in particular, what did i learn THIS time as opposed to all the other times? i learned to either 1. slow down a little 2. watch where i’m going a tad bit more 3. never go barefoot. the thing is, i’m pretty sure it will happen again. i’m still learning.
i haven’t fallen off my bike in quite some time (and hope not to cause these days it will hurt much more than it used to) but i can relate in countless ways to our chicken marsala monday in the melange this week. i can distinctly remember taking off the training wheels and teaching the children to ride their two-wheelers, running down the sidewalk next to them. for that matter, i can totally -and (yougetthis) viscerally- remember teaching them how to drive.
we’ve been watching the olympics. athletes of inordinate ability who had to start somewhere – and, for sure, who fell in the process. not afraid of failing, but keeping on keeping on. being an ace anything is far off. do any of us ever really get there?
as an adult (ugh, i guess 58 qualifies me if for no other reason than sheer number) there are a lot of things i still want to learn. a few years ago i wanted to throw pots. i spent more than i bargained on for clay and lessons and studio time and more clay and ended up with the most wonderful tea light holder. (ok, i also threw a cereal-size-bowl and a few other assorted incredibly-shrinking-bowls as i struggled to center them and not have the clay collapse on the wheel.) let’s just say i was not gifted at this. but it did (and still does) make me laugh. and i know that i will someday try it again and i will add to my assortment of teenytinyclayobjects in which i can store paperclips.
when we see my amazing son and his boyfriend, we seem to be developing this tradition of bowling together. now, even though i live in wisconsin – and it is practically a law to be a good bowler here – i am pretty bad at bowling. every now and then i do something (like pick up a spare or get a strike) and am shocked, but most of the time i am aghast at how the ball creates splits in the pins and i find myself leaning while watching it careen (generous term) down the alley. the thing i must say, though, is that each time i do a little better. and the reallybadscores will, if i dedicate any time at all to practice, perhaps improve. mostly, i laugh. and i wish i could bring that to ANY thing i am learning – be it a new sport, an artform, a study of some philosophy or political issue, or – a big one – relationship. we fall. we get up, brush ourselves off, ask for grace and try again.
even though there are so many venues of crashing, the recording studio is a prime place to watch yourself fall down. you’ve written music, lyrics. you’ve practiced and practiced – there’s muscle memory in each measure. you’re ready, water and coffee by your side. (for me, not so much water once in the studio as it ….toomuchinformationalert…makes throat noises i can’t avoid.) and then you start. there’s so much riding on the line. and some days? some days you can’t get through a track. something is amiss; something is wrong. the first track of my first album was recorded in a studio in evanston. ken, my producer, was a stranger to me and i drove down with a posse of friends. i felt a little nervous, but mostly felt confident i was prepared. hours later, i had recorded the solo piano track for galena (the album released from the heart) and ken gave me a cassette tape (how funny is that?!) to listen to. i put it in the cassette deck of my old chrysler blue minivan and turned it on. and was appalled. rigid playing met my ears. it sounded nothing like me or my playing, or my piece of music, for that matter. all that confidence translated to a coldness, an unemotional-ness instead of a good track. i called ken (who i barely knew then, but now the same brilliant producer who has produced 14 of my 15 albums) and he suggested that, “maybe you should just write the music and have someone else play it on the recording FOR you.” what???!!! uhhh, i didn’t even know what to answer that would sound in the least bit polite.
and so i painfully listened to the recording again and sat back down at home on my bench. and i realized i needed to be ready -at any moment- to fall. THAT is what would make the piece sound like me and sound like, well, music. the rawness, the every-moment-ness, the vulnerability to mistakes and moving beyond them. that is what would make it shine as a learning. preparation is wise, flexibility is a must, a sense of humor is required, confidence is irrelevant, perseverance is utmost.
reverse threading 