Wednesday, 3 July 2013

Jumping Beans


 He always shrank inwardly when someone, usually a half-cut punter, would come up to him after a set and say something like, "Love the music. Great tone you have, real edge, thanks." All that, and sometimes more, accompanied by a grin, that ear to ear cheek stretcher of a grin. A rictus created by fear in mind of the interrogator. His response was to mutter something indistinct, else his eyes would glance away as if to escape the truth, or what was what he really felt. He played tenor saxophone for pick-up bands needing a horn player, usually late in the week at a pub that had seen better days, losing its grip among the ragged edges of the city sprawl. He made a living, not a great one, but he got by, and after all he was playing the music he loved, and at night he dreamt of Ben Webster and Johnny Hodges. It was a way of life that seemed better than any alternative options being offered. 


 Dreaming of the warm rounded breathy notes created by Ben, the rolling rhythm phrases of Hodges, weaving about one another, thin and vapourous as cirrus clouds. There was the melody, quicksilvered in time, nudged this side and that, on the beat always. The bass-line a pulse revealing the heart base locking into the patterns splashed out on the skins. Tight, when its good, its tight, real tight together, a blade would break before they were prised apart. The sentiment releasing the emotion of the song, always the song, the voice singing out, wanting to be heard. Sending out those tentacles, streams of vibrating air, fingers reaching across distance and time, through clothing, flesh and bone. He had a clear sense, a feeling in his belly, when he knew he was 'on the spot', 'in the zone', everything cleared into no-thought, only the action remained. After the strange sensation in his belly which he experienced as beans jumping about, he would utter to himself alone, 'Beans. The beans are jumping."



 She had not intended to stay, but she did. She was there to meet someone, it was a date, something she had agreed to keenly, hopefully even. Perhaps she had been too quick to say 'yes'. The thought nagged at her, it kept coming back for attention, as if a drawer she could not quite close properly. It was his idea, she preferred Robbie Williams anyway. To her amazement she was entranced by the patterns the music made, she had not expected to have her emotions so engaged, yet somehow the pace and the gentle insistence of the music, the way it was so clearly drawn together from several places, somehow it all worked together. It made a space for her. It gave her hope something good would come of it all. Above all, it was the saxophone, who ever it was who was playing it seemed to be creating the music for her alone, she felt sadness when the solo finished, and the player stepped back into the shadows again. Then she knew she would be stepping into the night alone, and with every step of the walk home another part of the drawer would slide back into place.

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Heart To Heart


One step closer
To shedding the dust
Finding the breeze.

When all  measures
And weights are taken
Then dust settles
Back to molecules.



 In favour
the year's bounty
full and fat of cycle now-
embankment summer grasses.

Ox-eyed Daisy and Yarrow
and
Foxglove and Lupin -
a smudge in the periphery perhaps
sun breaking through at last.


 Walking the old railway track
a cloister of leaves and boughs
talking direct heart to heart -
there and back.


For all the softening
the city 
remains angles and sharp edges
every corner taken up -
even foxes are urbanised.




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Tuesday, 2 July 2013

The Lost Pine episode



The two gardeners resumed their work. Above them the sky scraping crowns of trees sporadically broke into temperate waves of motion, before settling once more into their preordained shapes. Eventually it was Shigoto who broke the silence between them.

“Have you ever been to a tea ceremony, Kamaboku san? I mean a proper tea ceremony, with guests and everything.”  Shigoto asked.

“No, now you don’t really think the likes of me would be invited do you, eh?’ He chuckled at the very thought of the possibility. “ No, they will all be fine men who come. Men of good standing and fine manners. They would not want the likes of me, a simple clumsy gardener there. No, I have had tea with Sensei, though. A few times, Sensei does not mind, he loves his tea and will drink with anyone.”

“I know. I go sometimes to study Tea with Sensei, I enjoy it,” said Shigoto.

“That’s good, drinking tea in that way is something that gentlemen do. Sensei likes you, you know. I can see it in him. He will teach you what ever you ask. Sensei knows a lot of things, you know, he is a cultivated man is Maguro Sensei. You can trust old Kamaboku’s eyes on that one, Shigoto.”

“He came from Kyoto didn’t he? He told me that one time.” Shigoto sensed the conversation heading into areas of great interest to him.

“Yes, so they say, a Zen priest and all. Fancy that. Makes you wonder sometimes how we end up as we do, doesn’t it? There he was, a priest in the capital, at some big monastery or temple the one moment, and then Lord Saeko brings him to Mikura to be Head gardener. Hey, Shigoto, do you think that I will end up in a temple in Kyoto sometime, eh? An inexpensive geisha house would do, I dare say.” With that Kamaboku rocked back in laughter at his own humour so much that he over-balanced and landed on his back, among the desiccating weeds and seedlings they had so recently torn from their fragile hold to the soil. When he had recovered his poise sufficiently he asked Shigoto, “You ever think of those sorts of things?”

“No, not really. Have you been to different places in Japan, Kamaboku san?”

“Oh no, you must be joking. When would the likes of me get the chance to travel? Not that I would even if I had the chance. Though I have ventured all over this island. When I was an apprentice, in the time before Maguro Sensei, we would travel all over the island collecting plants for the garden. Hikishio Sensei, the Head Gardener then, was especially keen on that. Sometimes we would be away for days at a time, sleeping out in the open, rain, sun, and frost, whatever. We would collect trees and plants from the wild, from nearly every part of Mikura. Sometimes we had to go backwards and forwards many times to bring back things we found, even send word to the farmers to come and help gather things in, and bring it back to Hirame. What wonderful times those were. I was about your age, I suppose, when I went the first time. Could not believe how big this island was myself.”

“You brought back trees for the gardens?”

“How do you suppose these things got here in the first place? They did not just spring out of the ground by magic, you know. Sometimes rocks too, then we would have to send for oxen and timber sledges to drag the pieces back. One time Lord Saeko, when he was younger, was out with his falcon hunting, and he saw a stone he wanted brought back. It took us a week to get it here. But we did it. It’s on the shore of the lake now.”

“A week? To bring one stone back?” Said Shigoto incredulously.

“Sure. It’s the tall, square looking one, with red markings on one side. The colour is supposed to bring good luck, wealth, that sort of thing. There are no really good trees left on Mikura, not one’s you can get at anyway. Sometimes the farmers bring trees in, but all the best ones have probably gone by now. We had the last of those, they are all here in the gardens now. You look next time, I mean really look at what is about, and think how all these things got where they are. The gardeners of Hirame have been building this garden since… well, a long time anyway.”

Kamaboku had settled on the ground his legs now drawn up under him in a comfortable manner. His weeding tool lying idle at his side.

“Oh we travelled all over this place in those times, you know. There is on the other side of the mountains, a place where the earth looks as is has been ripped apart. Imagine that, it looks as if a giant being came along and tore at the earth with his bare hands, bursting it open like flesh slashed open by a sword. You are walking along one minute, and then the ground just drops away, straight down.” He motioned with his hand, the fingers plummeting downwards. “Down, where? Who knows? What’s down there? Well … There is a stream that falls in to it at one end, you can hear the water running, but you cannot see it. We tried to enter the gorge from below, but the passage became blocked with huge boulders and there was no way through. The sides are all bare rock, but in the cracks there are trees and other plants that grow there from seed. Because the roots cannot run, the plants stay small, and have twisted shapes from growing out towards the light. Some of the best pines in the gardens came from there. But those trees came at a price, they were hard to get at you know.”

“How do you mean?” Shigoto encouraged his companion to elaborate.

Kamaboku looked across at Shigoto a moment before continuing. “ There are the bones of someone in that gorge to this day, unless the foxes have carried them away and buried them by now.” He paused, as if to invite the inevitable question.

“Bones, whose bones?”

“There was one tree Hikishio Sensei was especially keen to get at. A pine, a real beauty, may be seventy, eighty years old, older perhaps, who knows. The branches were short and stubby, and shaped like perfect clouds. You would not have had to do a single piece of pruning to it. Not like these,” he gesticulated at the trees in the ground about them. “It was the sort of thing that you dream of finding, and may be you do, but only once or twice in your life. The trouble was it was growing in a crack in the rock face, there were no ledges nearby, and the rock fell straight down to it, and below there was nothing, a sheer drop. There was no way to climb down to it. It was near the waterfall, so there was always a mist, you can imagine how slippery that rock face was. The only way to get at it was to lower someone down on a rope, while they tried to dig the tree with as much root as possible out of that crack. Hell of a job, just like hanging off the end of a rope in a rainstorm. Sometimes you would have to hack away at the rock first to get at the tree roots, they would be so wedged in there. We had done it before, going down a rock face on ropes, I had done it myself, got some decent stuff that way. I had no fear in those days, climb anything, go anywhere, I was young then. Bit older than you but not much probably. We would be paid a bonus too when we managed to bring good trees back.”

“Did you get the pine then?” Shigoto was eager to get to the climax, and could vividly picture Kamaboku hanging perilously over a yawning chasm.

“ I did not go down, someone else did. Then the rope snapped.” Kamaboku paused in his narrative.

“The rope broke? Did you get the tree though? Is it here in the garden still?”  Shigoto was impatient to get to the climax of the story.

“The rope broke.” Kamaboku quietly repeated.  “The tree is probably still there. A bit older now no doubt, but still there.”

“What happened to the gardener?”

“Still there as well, I guess. As I say, unless the foxes have stolen his bones.”

“Who was it, the gardener, I mean?”

“Oh, just someone I knew. That’s all, just someone I once knew very well.”  He spoke in a quiet wistful, far-away tone. A gust of wind caught the trees above their heads again, and the crowns swayed and rocked drunkenly for a moment. “Hey, we should get moving, Sensei wanted us to meet him at the Shikiami-an teahouse didn’t he? We can leave the tools here, we’ll be coming back.”

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The Life Of Poetry


Deep strokes of the oars
Beneath the raft strong currents
Heading out into the tidal karma pull –
Following petals downstream.


A silent wall
with
Trembling leaves
Acting as shadow-
Darkness given a place, 
also.



White frost crust clinging to earth
Clarity too
Footfall breaking through ice.


Each day
Slipping further into the soil
The bench –
Suddenly knowing where you are.



Black buds on the elderberry
Ambitious schemes
To find winter lost in spring,
A child among the trees.


Just beyond eye reach
Just raw feeling for company,
How one becomes,


A poem in the life of poetry.



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Transitions and Repose

To play with the notion of flow, creating modules of temporary repose. The space is seen from every way, every direction is exposed to be seen. Form needs to be alive in every dimension, the architecture of the space both fixed and yet responsive enough not to be static. You, dear viewer, need to move through this space. Tasting what catches the eye.


If there is a detail, then be bold and rely on texture to carry the vision to a place to be held. Bring the edges to meet one another plainly, and acknowledge their meeting. At the edges there is most to gain, being at the most vulnerable point reveals the most. The hard becomes the soft, the soft transmutes to a corner.


Blending the soft with the straight, framing the movement can speed the flow. The eye can encompass but a part. The whole is created from the sum total of the instances, and then we fill in the missing parts within the mind. Suggest what may be and the eye-mind will complete the picture. The garden becomes a space of music for the senses; eyes to taste with, the hands to scent, the tongue to see form beyond form. To imagine the unknowable. 

                                                    

Hide and reveal, opening and closing, showing and hiding, creating rhythm, and the beats of the cymbal snaps pulsing. Flow is dance, being alive is dance, recognising this is to dance whilst becoming into Self. Within the landscape is created. Paths take us somewhere, transitions of being here to being there. Arriving somewhere.




The long view plays against detail that draws the eye into emotion and feeling. The heart runs, stretches out as time becomes a factor. Being drawn out it follows a defined path, a determination, an intention to be somewhere. To find an identity through the movement through time and space.

all photos private garden, Cheshire, England.
                                     

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In Sleep Answers Come



A tangled nest of boughs
Known with child-like intimacy
Deep rooted in earth memory –
Such the drama of winds and clouds.


Steps into lightening hours
Steps to heal deep wounds
Steps to the river to bathe
Steps between steps –
Who follows, who leads?


Passing moments diamond hard
Falling inward becoming blossoms,
The skin of the river
Defined by its movement.

A bare woven tapestry
Skein of vulnerability & strength
The raw cry in the night.
Leaves crisp and defined,
Sparrows rotund and restless.



Of such ephemeral tissue
Faced by emptiness and a thousand avenues
Our masks of civilised manners glow,
In sleep answers come.




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Monday, 1 July 2013

The Frog In The Well



There come those dreams
Stars of change spiralling to earth
Splitting open as ripe fruit falling
So possessed, so freed, so alive.


To rediscover by touch
Phrases never spoken
Closing your eyes
Only the cries of wild geese.


A fallen feather
Sign of some deep inner flight
Quiet touches the ground
As night settling as if snow.
  

Silver wet and glistening
Branches and the ivy.
Rising late
To find a rainbow
Among sullen clouds.

The frog in the well
Knows nothing of the ocean,
Except for the pull of the moon.




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Wisteria Tendrils



Wisteria tendrils
This way and that –
Beauty has no beginning, no end.



So to discipline the heart
In the ways of heaven and earth,
A shower of blossom
The sky promising more rain later.

At some point in the night
We lost our fleshy bodies
Phoenix dancing in the flames
Sleeping late as a pair of doves.



The silence
Has been so long –
Cherries ripe to eat.

Clouds
The relief of rain.
Earthen scent
& buds swelling.


In the anticipation of waiting
Is loosened the sense of need,
Still bone and flesh to mould again
New forms, new stories, new paths
Slipping by desire and the changing climes.



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Beneath This Moon


The door opens a crack
thin stream of light -

a spider preparing its web.



Beneath this moon
a peony flower -
the heart sings for both.


A butterfly
opening its wings in the sun,
where do we go from here?


No other visitors
the verandah is empty -
just the wind, moss 
and stones 
for company.


From some place
far distant
children's voices -
coming home again.




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Paths To Paradise




Paths are central to the structure of a Japanese garden, it may be argued that on some level the garden is in essence a 'path', one that leads the viewer from the Everyday world into a space of a different order (道, dõ in Japanese)

The path that leads from the street to the entry of a temple or traditional building will rarely lead in a direct line of access, the path will make a twist, turn or corner. The path is wide enough to be walked freely, and will be composed of a even surface. The dislocation in the line of access from the building entry to entry from the street is an influence of geomantic practice, to prevent the depletion of vital ch'i from the site (see Feng Shui ). A variety of texture in the path may be introduced through variations in the layout of the materials being used. Occasionally at the entry to a Zen temple one sees a final section of Entry path laid out as large stepping stones in a pattern of  seven, five and three stones, the numbers having potent auspicious associations thereby act as a blessing for the person approaching the building. There is such a path at Nanzen-ji, likewise at Shinju-an (both temples in Kyoto).


In the gardens themselves paths are generally classified into three types, Shin, Gyo, and Sõ, naturally the paths that are in close proximity to buildings or are main thoroughfares connecting buildings may be the most formal, leading to ever greater informality, Sõ, the deeper into the garden one progresses. Whilst this is often the case, it is a 'rule' that is frequently enough disregarded. In the garden context full range of expression is given to the potential of humble pieces of stone. 


Whilst nowadays, tobiishi (stepping stone paths) are used with great frequency, in the garden at Katsura Rikyu there are over 1700 steppingstones used in the path system. The popularity of stepping stones did not really come into such prominence until the mid 16th century. It was after the Tea Masters began to exploit the use of steppingstones in their gardens that they became quite so common elsewhere. In the Tea garden only rough stone would be acceptable, whereas for Gyo- style paths it is acceptable to mix cut stone and rough stone in the same section of path. Sections of steppingstone path will lead to sections of pavement-type of pathways. It is a design technique to set a short pavement section of path at a point of pathway that leads immediately to a view point. Once on a pavement section of path it is natural for the viewer to raise his head and be able to take in the scenery being presented. It is only the unwise who tread along steppingstone paths without watching where their feet are being set down. Thus one can see the potential for influencing the way the garden may be perceived by manipulating the manner of surface offered to walk along.


Stone slabs laid a into paths are often referred to as tanazaki-ishi or 'Poem card stones' after the strips of paper that poems and prayers are written on, Tanazaki-ishi may be laid offset in pairs. Where small stones are brought together to make up pavement sections it is important that the intersection of the stones are of a T or Y pattern, and not as an X or radial intersection. Pointing gaps of 25 - 30 mm are preferred, the pointing should come to no more than 12 mm of the top of the stone, which allows for the play of light across the surface. The mortar used sometimes has ground charcoal mixed with it to darken the colour in order to harmonise the pointing with the stone. Pavement sections of 45 cm wide are enough   for most garden situations. Black stones in a pavement section will give a sense of formality, whilst rough textured stones will give a more subtle air to the path. The pavement sections should ideally be of a comparable height from the ground to the setting of stepping stone paths.




It should also be recognised that in Japanese the word for path, 'dõ' has connotations that will inevitably have a bearing upon the way that the garden is appreciated. 'dõ' may be understood to carry the sense of a path, as a way in life. Following the 'dõ' in this way is to make a commitment with one's whole being in following  a particular course. The goal that is being sought is a measure of transcendence from the 'everyday world', that is  simply seeing the duality of the material world and failing to grasp the underlying unity of all things.  The garden being expressed essentially as a path, both physical and metaphysical, will evoke this sense in the heart of the viewer who enters and experiences the garden with "empty hands".