Wednesday, July 31, 2024
Lilith meets a vet
Metronome: Elegy 9
Metronome
A friend says her grief
Is like a puppy pooping
In the corner yes!
It stinks all right
Hyperactive / aware
A small blonde girl
At the Kurtistown Cafe
Stood in high pink boots
Her shirt read NO!
I asked if she wore it
So she didn’t have
To say it, but NO!
Was her and her father’s
Answer / they left
Hand in hand with her
“Sushi toys” / his plate
Lunch / A woman in mask
Came over to ask
If I also live alone
She lives out of a cooler
I said no / but I left
My husband at the airport
And was treating myself
To kalua cabbage
Grief becomes a form
Of awareness / a looking
With / an eating with
The dead / you’d hold up
Your hands before you ate
Blessing the food
Before it entered you
To fuel a prayer for
My dog and cats /
They organize them
Selves in geometries
Triangle square near
Perfect circle before
An inevitable shift
Stench from litter box
Or yell from food dish
Bark at front door
Metronome keeping
Time before it stops
Again /
Monday, July 22, 2024
Lilith blesses America (a story before the last one)
A week after the assassination attempt on Trump's life, Lilith and I ran into Uncle John in the cemetery. He asked how we were feeling. I reported that I felt sick to my stomach. Why? Because it looks like we're going to get Trump again.
He raised his hands up, gazed toward the sky, started to sing "God Bless America." As Lilith and I trudged home, I thought I can't do this project any more, can't keep my equanimity, can only write evasions of the central subject. I'd intended to write a second volume to Lilith Walks, one that ended with the coming election. But now I just couldn't do it any more.
We got home, dressed in our gloom, and I turned on my computer. "Biden steps down, endorses Harris," it told me.
Political joy, you've been a long time gone.
Two faces in Waikiki (sans Lilith)

Friday, July 19, 2024
Lilith and the hunters of Kahalu`u
Time Stamps: Elegy 8
But whom do people kill? They kill the noble, the brave, the heroes. They take aim at these and do not know that with these they mean themselves. They should sacrifice the hero in themselves, and because they do not know this, they kill their courageous [sister].
--Carl Jung, The Red Book
Or, they kill the mirror
That reflects themselves
As if surface were allegory
For depth / and depth
Could speak in words
And words could kill
What they hate they
Cannot see in themselves
But saw in you / trans-
posed to light / radiant
In your little house
By the creek / frog-
infused / where you
Put your tent out
Back some nights
Cacophony the mirror
Of silence / frog song
Mantras chanted to
Mark a prelude
“Don’t expect thoughts
To stop,” they say
They never do
But you can drop
Them like towels
In a basket / snow
On city street / you
Offered us the silence
Of your frequent
Absences—off to do
This! Do that!--
Neighbor looked up
To see her missing
Dog at the edge
Of her lanai / only
Her time had passed
Not his / for he was
There / Is your death absence
Or return? Your photo
On my fridge place-holds
The question / time stamp
Reads 2001 / March / afternoon
Now 2024 / July / morning
Dog and I turned back
When it began to rain
Tuesday, July 16, 2024
Eucalyptus and I, from Lavender Ink Press.
https://www.lavenderink.org/site/shop/i-and-eucalyptus/?v=76cb0a18730b
I and Eucalyptus is series of meditative poems, or poetic meditations, on the relationship between the writer and a tree, by way of Martin Buber’s I and Thou, including 21 full color photographs of the tree. Schultz’s obsession with a solitary eucalyptus in a neighborhood park opens up space for discussions of self and other (as well as dog), creation and decreation, accident and abstraction in art, politics and spirituality, and much else. Tree and writer exchange vows, but there’s no insurance to cover such a union, so writer and dog return home, “develop” photos, and muse about these encounters between human and tree beings. The eucalyptus, so often considered worthless and invasive, becomes a worthwhile guide to thought. Answers, of course, are all more questions, for the book is more quest than end-point. Each section is accompanied by a photograph of the tree’s drips and drabs; greens, reds and yellows; its peeling bark and black sap.