My True Childish Heart

I learned to value only that which truly activates what is in my heart.  I came to value those experiences which activate my heart as it really is.  I sought, more and more, only those experiences which have the capacity, the depth, to activate the feeling that is my real feeling, in my true childish heart.  And I learned slowly, to make things which are of that nature.

[Christopher Alexander :: The Nature of Order, The Luminous Ground]

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A friend emailed this quote to me recently and it prompted pages and pages of writing over a period of two weeks.  I began to compile a list of the things my childish heart prefers — that is to say, the things I cherished when I was a child, not really objects, mostly daily experiences I had while growing up on remote warden stations in the National Parks of Canada.  I want to share some of that list with you now!

My true childish heart prefers:

*playing alone, most of the time (which isn’t to say I didn’t enjoy playing with others — I was prone to wandering off on my own, and was content to be so)

*being in boreal forest (a spruce, jack pine and birch blend is nice)

*star gazing and wondering at the northern lights

*beaver ponds, narrow creeks, mossy forest floors

*tall grass, or a tall crop (wheat, canola, flax) — standing in tall grass or a tall crop

*collecting rocks, twigs, bugs, wings, feathers, bones, tadpoles, frogs, frog eggs, crayfish, leeches

*building snow forts, snow caves, forts in hay bale stacks, forts in aspen stands

*building, in general

*the sound of ruffed grouse drumming

*falling asleep to the songs of wolves and coyotes

*riding horses bareback

*fishing

*cleaning fish, generally dissecting things and investigating the insides of animals

*making whistles with caragana pods, blades of grass, reeds

*watching my dad do woodsman things: pack a packhorse, run a chainsaw, chop wood, build a fire, ride a horse, drive a snow machine, shovel dirt, gut a fish…

*climbing trees

*reading books

*rubbing the cheeks of rabbits (which brings them great pleasure and causes them to grind their teeth which sounds a bit like a cat purring)

*being under overturned canoes on the edge of a lake in a thunderstorm

*swimming

*twirling on ice while figure skating

*running/going places fast

*morning light filtering through a tent wall

*peppermint tea

*sewing

*any kind of baby animal, the wilder the better, rabbits especially

*keeping hens and collecting eggs

*hunting for the secret place the cat hid her new litter of kittens

*the sound of horses chewing oats

*cooling off in the horse trough on a hot summer day

*being made meek by a sudden storm

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At times, my childhood seems a lifetime ago.  A girlfriend of mine, last summer, asked me what I was like when I was a little girl.  When I went to answer her question, I realized I’m the same person (in most ways) as the little girl who grew up feeling she owned Riding Mountain National Park.  My life isn’t much different either.  I still spend hours out on the land, most days.  I like peppermint tea.  I make whistles out of grass blades and it seems there’s never a moment when I’m not exploring…or noticing the world around me.  I know I have been changed, burdened, and freed, time and time again, by life experiences and interactions with humans, by loving and losing and loving and losing.  But the changes have not been for the worse, but for the beauty of growth and betterness.  I’ve been able to keep a good grip on my true childish heart, more than most, and I’m thankful for that.  I don’t feel I’ve lost my way in adulthood, I’m thankful for that too.  Who were you when you were young?  Who are you now?  Who would you rather be?  I have been turning these questions over and over in my mind, pressing at the answers like they are rumpled cotton beneath a hot iron; they lay out before me now, crisp and white, new and beautiful, ready for the wearing.

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On Friday morning, I went up Gibson Jack.  It was a wonderful, woolie spring day.  The creek was ripping right along, fat with snow melt and rain.  The trees were beginning to think about buds and root-moving-rock-splitting.  After exploring the creek and laughing at the antics of the dogs, I laid down on the forest floor and watched the sky through the trees, simply being restful, aware and allowing my senses to drink in the world around me.  I thought to myself:

Not enough people take the time to simply linger a little longer in the wild places.  We pass through the forests, across the plains, under the arms of the mountains — we hurry on our way to somewhere.  We forget to notice the sky and feel the wind.  It would be better for us to linger, every now and again, to afford ourselves a full taste of the world around us, to slow our heartbeats and sink gently into the earth.  Maybe, if we’re lucky, we will remember our true childish hearts, and feel a spirit of youth and freedom rise up in us.

Oh. This. Night. (spring comes softly)

We are here to witness the creation and abet it.  We are here to notice each thing so each thing gets noticed.  Together we notice not only each mountain shadow and each stone on the beach but, especially, we notice the beautiful faces and complex natures of each other.  We are here to bring to consciousness the beauty and power that are around us and to praise the people who are here with us.”  [Annie Dillard]

I have been up the mountain tonight.  I have finally been well enough to go walking, to be in the sun, to ride my bicycle, to throw a tennis ball for the dogs, to carefully cut back the dead and dried sticks and vine that litter the perennial beds in the gardens here.  With the strength of wellness rising up in me I have felt myself finally re-root in my home.  I realized something, sometime this winter, after a jaunt to another state.  Upon returning home, I felt out of sorts for days while I was pinned down in the house and studio, madly catching up with life and business and work.  I felt out of sorts until I took myself outside, hiked for miles through the snow under an Idaho blue sky, hugged a douglas fir and sipped hot tea from my thermos in the quiet of a high place.  After traveling, I find I am not quite myself until I reconnect with the land here.  It’s the funniest thing.

My friends, I have survived a proper pestilence these past ten days and am recovering so very slowly from sickness (even now, a bony cough rattles around in the thinness of my chest, I feel a bit hollow, smaller than usual, easily made weary).  But when I walked the mountain tonight, watched the dogs fly through the sagebrush and witnessed the colors of the world fall into dumbness and twilight I felt bright and spry and entirely myself.  I felt fully like me, once again, and it was a relief.  There’s so much to see outside right now, so much, in fact, that every moment I spend inside feels like a moment lost.  Spring is wild in me.  My very heartbeat is the sudden music of the meadowlarks.  The palms of my hands are creeping with green.  It seems resurrection is everywhere I look.  And I believe, I surely do.

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As I walked tonight, slowly, as though in an exquisite dream, the wind was raking its fingers through my hair and the mountain water tripping over itself and into the lawful, pulling hands of gravity, there was an edge of green peeking through the tawny gold of last years grasses, the sagebrush rubbing at its many eyes with sleepy fists.  My sight felt like thunder, brought forth on a crackle of light.  The sunset was silk and gold vapor, a shimmering yawn, the moan of a door hinge closing on day — reverence and brass.  I was utterly romanced by it all, swooning with love for all I could see.  Is this spring fever?  If so, I don’t want the cure.

These days feel like a pearl-snap shirt poking out from beneath the scratchy threads of an old wool sweater that has grown uncomfortably warm.  We let the wood stove die down to winking coals and fluttering ash.  We throw the windows open in our houses and let the wind pass through.  It is a beautiful time of year.  I read seed catalogues while I’m in the bath and daydream about gardening, fishing the Methow River and painting with my canvasses hanging from the trunk of a ponderosa pine tree at the Little Cabin In The Woods.

Spring is a time for dreamers.  Spring is a time for coming clean in the scrubbing scream of the wind.  Spring is for breaking free of the manacles of whatever cold thing that has been holding you far too tightly, for far too long.  I’m not even talking about ice and snow, I’m talking about other things, just as cold, that shrink and burn the spirit and nibble on your bones.  Cast it all off and begin anew.  This season gives full license to beginnings, limitless living, leaping forth into height and strength.  Upward.  Onward.

Dear hearts, oh, dear hearts.  Grow only hope, I will too.

One Fine Morning

This morning, the sky is wild and tumbling.  It makes me moody and introspective.  I am out walking.  When I dip down into the cottonwood stand in the dry gulch of Cusick Creek, the wind sounds like a far off freight train that never quite arrives.  I look to the tops of the trees as they groan and rattle.  It’s amazing, the strength of trees, the vertical stairways of flexible cambium beneath the brittle and frayed edges of bark, the way they can bend so deeply without breaking.  I wonder what there is in me that manages the same kind of strength, what it is about my structure that allows me to stand up to a devil of a wind as it rakes and lashes at me?  There’s a new cottonwood down, probably a victim of weather; I wonder if it was simply overcome, or if it gave up?  Can trees give up?  Though they live a life of service, I tend to believe surrender isn’t in the nature of trees, or anything wild and natural for that matter.  Maybe humans are different because we can suffer the infliction of a crushed and broken spirit? (there is the matter of domestic animals which, at the hands of humans, can suffer crushed spirits and are therefore in a separate category from wild animals and human beings)  There’s a kind of broken, terrible bad in some people that just spreads, like a virus, into others, crushing as it goes.  I don’t see the same sort of affliction in nature.  There is always a will to survive.  A coyote in a trap will chew its foot off.  There is never a question of when to give up and let go.  Even when wild animals are dying, at the teeth and claws of each other, or at the hands of a hunter, they continue to fight for life.  There is only the effort of living, every moment of every day.  It’s amazing.  I take notes.  Copious amounts of field notes.

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This beautiful world of mine is washed in muted hues: stony violet, chalk, drab taupes and tans, vague greens and the occasional patch of gold where the light hits a mountain peak or a clump of sage.  It’s stark and madly howling out here.  The colors are just as I love them: fleeting, shifting, melding, brewing, perhaps even indignant, as though they do not want the added contrast of bright light to birth them into full strength.  They cannot be captured.  They run rampant in the hands of the wind, flickering and mutating, they scurry on the ground like a thousand velvet voles.  My attempts to describe them are in vain.  They leap in and out of appropriate adjectives as the sun pushes forth from behind cloud sail, and then slides into cover again.

Tater Tot is galloping about like a little psychopath.  His eyes have the crazy look he’s infamous for.  He disappears into the sage and in a moment I hear him yipping for joy.  A covey of Hungarian partridge bursts into the air and is carried away like grains of pepper in the terrifying gusts of wind.  Tater Tot commences his chase.  I don’t have the heart to call him in.  He is joyful, the way a trout is joyful when it leaps out of water for the sake of feeling the sky rub at its rainbow flanks.

I turn my back to the wind and take my hair out of the clip that holds it.  Instantly, my sight is covered in gold silk, I have hair in my mouth, hair stuck to my lips, it stands up on end as the wind rolls over and under it.  I’ll have to use a garden rake to get the knots out when I take my bath in the evening, but it’s worth it to feel free and unfettered for a moment.  I’m like a mustang in the high desert sage flats, sure footed, strong and replete with life.  I sling my camera strap over my shoulder, call Tater Tot in to my side, and break into an easy jog on a frozen trail.

I head east-southeast, toward the growing light of the day.

[some pretty scenes from around here, these past few days]

I’ve been meaning to tell you how I begin my mornings in the studio, if it is a work day for me.  Here’s what I do.  I walk in, turn on all my machines and lights, crank the heater up to full blast and if it’s cold enough, I light the propane heater as well and huddle around it for a moment (like a member of a bison herd in a blizzard) because the heat is sheer ecstasy on my hands and face which, at this point, have already started to turn a little blue.

I step up to the long work bench against the West wall of the building, the wall that holds an enormous window that looks out into my sleeping rose garden, a field of sage, and eventually the rise of the mountains, white and brutal with winter.  The sun is pouring in the window, bucketfuls of the stuff, I squint in the brightness.  While I stand there, I reach my arms out wide, as though those scrawny things are awkward wings.  I reach my arms out wide, lift my face to the light and I pray.  I pray to be filled to overflowing with pure joy.  I pray for the wounds of my heart to be healed.  I pray with compassion and love for the people who would seek to hurt me, and in praying for them, my own faults are revealed to me, and I acknowledge those faults one by one, and do my human best to turn away from them.  I pray to be breathed into, to be inspired, that everything I see and touch would register in my mind and heart in a sort of rich, fourth dimension, that my work would have motion and direction, that my pen would be filled with wisdom and joy, that the things I create will hold peace and that my efforts would encourage and lift the spirits of others.  I spend some time in silence, basking in the light, being filled with peace, having my very self wiped clean, refreshed, revived.

I imagine myself in a forest where it is cold and snowy.  I trudge through the white and the timber, foot after foot, until I find a place in the trees I like.  I bend down, kick the snow from the ground and make a small bald spot in the dirt.  I pick handfuls of dry grasses, crumple them in my hands, lay them in the space I have made in the snow.  I collect small twigs, fallen branches, perhaps bits of lichen that drip down from the arms of the fir trees.   I build a little pile of tinder that leaves space for air, for motion of breath, a gap for the flames to eat at oxygen.  I reach into my pocket and draw out a book of matches.  I rip one away, scrape it across the matchbook, and hear the snap and hiss of a flame come to life.  I hold the match up to the kindling I have gathered and watch the flame devour, in small gulps, the offering I have made it.  The orange light of my tiny fire disappears for a moment, only to reappear larger and brighter and stronger, tinged with blue tips.  White smoke is rising.  I nurse the fire, stick by stick, tend it kindly and gently with soft hands, I add to it slowly, larger and larger pieces of wood.  When the time comes, I put my face as close to the flames as I dare, and I gently blow into my fire, to support it with more oxygen as it eats away at wood and air.  The flames leap higher, the fire is sustained, growing, consuming.  I think about the quiet flicker of the sacred heart in my chest, the small heart of mine, that delicate thing.  I think of it beating away there, melded with my spirit, woven and blended with my soul.  I think about how the tiny flame, the pilot light of my soul, yearns to burn brightly and ferociously, it yearns to be breathed into, to be tended, to be fed.  It crys out for inspiration, the very divine breath of God, the whisper of the wind in the fir stands, the holy language of the rolling creeks, the mystery of roots as they wend deep and devour stone.

That’s what I hope for, in the mornings when I stand at the window in my studio, about to begin work — I hope for vitality of spirit, a quickening of intuition, to be breathed into, to have the tiny flame of my sacred heart fanned into a roaring fire.

Then, I work.

https://www.thenoisyplume.com/blog/2013/02/11/5805/

I hold my hands up

cast the last small fettering stack of intangible things into the fire

of a setting sun

and so

feed the Phoenix waiting to rise.

There is a twist to the season now

a collection of last gasp energy

before the spin and crimson exhalation of autumn

like a collected horse

moving into an arena turn

at a slow jog:

the tuck and mechanical pull of shorter days.

I can feel it flex, furl and bend.

The sun is slipping South.

Every night I think the sky rears up to offer me ornate shards of rebirth

a star I never knew

the craters of a greater vessel swimming with loons.

I slip into slumber with my hands open

my arms outstretched

I’m adrift on the rippling surface of a mountain lake

all the grey promises I make myself are carefully fulfilled.

Each evening becomes unreaching

moon tossing

breeze glimmering stone throw distances

hungry red mouths of trout

river lick

granitic mountain tongues flinging praises at an ancient throne.

(Wistful is a place for people who do not belong anywhere

and so

everywhere is theirs for the claiming.)

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I haven’t known how to evolve, I simply do or I don’t.  When the time comes, I morphose into something similar, but new, or independently new altogether.  It isn’t a conscious thing.  I can’t tell myself to do it or make myself do it.  It’s quite strange — adaptation, I mean.

I can’t begin to pinpoint how the changes take place, the impetus behind the motion of unzipping the suit I’m wearing, stepping out, and then stepping into a new suit.  Zip.  Like a change of skin.  Like switching out a truck tire that has flattened in the sun and wind, muddled and mingled with gravel and weeds.  Out with the old.  In with the new.  The seasons are independent, I suppose.  Rhythmic unto their very selves.  The invention of new drums and horizons.

One winter, I walked into Walrus & Carpenter, the used bookstore in Old Town Pocatello, and Will, the owner, exclaimed, “Why Jillian!  It’s you!  You’ve changed!”  Speaking in bursts of exclamation is common for Will, it’s one of the reasons I like him so well, we seem to speak in similar dimensions.  I’m sure I looked concerned by his outburst because he put his hands in the air, palms open towards me, as if he was stopping my objections in my throat, and he chased that first exclamation with this, “It’s not a bad thing!  It’s how artists are!  Always changing in timbre and hue.”  Except I can’t recall exactly what words he used and that last bit of phrasing about “timbre and hue” is actually my interpretation of what he was saying.

I was maybe a bit embarrassed by what he said, perhaps a bit thrilled as well, to be noticed, to be changed, to be suddenly introduced to myself, wearing the newness I never noticed.  I wonder how often it happens to me?  Change?  Hue and timbre modification.  Day to day?  Once a year?  Does it reveal itself in the colors of clothing I choose to wear, the ring that doesn’t leave my right hand for a month?  The way I write, make, cook food?

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I had a dream.  I was in a forest.  The trees were moaning, rubbing trunks in the wind, stretching cork cambium to breaking points beneath rungs of sunshine.  I thought I smelled a pie baking, somewhere in the woods, berry stain and butter fry.  There was a catastrophe of jigsaw bark on the forest floor and the unmistakable scent of solaris and pine sap.  I walked through the mess, tried to fit thousands of small similar things together.  My wrists wouldn’t bend.  My joints were fused.  I was the tree.  Soundless and small.  In the midst of everything.

https://www.thenoisyplume.com/blog/2012/08/23/5004/