Wild Epigraphs: A Year Of Quotes From A Year In The Woods

I’ve recently read A Year In The Woods: Twelve Small Journeys Into Nature, by Torbjorn Ekelund, who tried to spend one overnight a month, for year, in the forest near where he lives. I enjoyed it, as a reflection on being a father and trying to reconnect to the wild places near him.

He called his overnights “micro-expeditions” because his hikes were short, and in close proximity, and he camped near the same spot each month, to notice the changes of the world on a manageable scale.

The book, told in twelve chapters, one for each month, fits nicely into this season of Write Out, which kicks off next week.

I appreciated the twelve Epigraphs that started each chapter, so I have gathered them here (August is the only one I shortened, because it was long and spilled over to two pages. I just used the ending here).

Peace (and explorations),
Kevin

Write Out/Write Across America: Poems Of Place

We Write By Night

Last night, I helped co-facilitate an online writing marathon session through the National Writing Project’s Write Across America project, and in connection with the coming Write Out project. Our focus was on the Connecticut River Valley of Western Massachusetts, and poetry (although participants could write what they wanted). My facilitators were Harriet K. (a colleague with the Western Massachusetts Writing Project) and Ranger Wes (of the Springfield Armory National Historic Site).

We used this StoryMap that I developed over the summer, with pins and points of poets in our part of Massachusetts. (The map was a hit! Phew.)

Two of the poems I wrote last night were connected to a pin for the Poet’s Seat Tower, a brick tower where poets used to walk to, to write in peace and solitude.

The first poem, above, used the metaphor of the bricks of the tower. The second poem, below, was inspired by a link to an Herbarium space, and its digital collections (which are amazing) and the space for glass slides of the anatomy of trees.

Wood Anatomy

Peace (from every place),
Kevin

Write Out 2024 Is Coming: Poetry For The Planet

Write Out, the free place-based inquiry project, is coming in October, starting on October 13 and running through October 27. Write Out is hosted by the National Writing Project, and offers educators and anyone else many free resources to connect students and writers to the natural world, even if it just outside the classroom or front door.

This year’s theme is Poetry for the Planet!

I’ll have more later about an online poetry writing marathon that my writing project is hosting in early October, connecting writing to the Connecticut River Valley of my Western Massachusetts region, and you are invited! It’s free.

Go to the Write Out website to get more information: https://writeout.nwp.org/ and sign up for the free Write Out newsletter.

The “podcast” above is an AI experiment, using the audio generator in Google Notebook LM and an image from Adobe Firefly.

Peace (in the great outdoors),
Kevin

Place-Based Poetry for the Springfield Armory National Historic Site

This summer, I took part in a program called Teacher-Ranger-Teacher, which connects classroom educators to National Park sites. Different park sites ask their educators to do different things, and I was asked to create some resources for using the Springfield Armory site for poetry, so that the rangers there could work with schools and students. This connects to Ada Limon’s Poetry In The Parks project, where the US Poet Laureate is unveiling poems carved on picnic tables in different National Park sites.

I’ve done plenty of work in the past with the Springfield Armory and the National Parks through the Write Out project, so I was game to dive into poetry and think about how to use the site for writing. The slideshow presentation is one of two projects I developed (the other, also poetry, will be used for a national Writing Marathon with the National Writing Project next month as Write Out 2024 kicks off — more to come).

I explored a poem already at the Armory, women at the Armory during WW2, Double V Day, the immigrant/worker experience and more. I also was able to spend a few hours in the archives, looking through the Armory’s old newsletter collection, finding poems written by workers over the years and featured them in the presentation itself — giving voice to those whose lives centered on the Armory.

Peace (and poems),
Kevin

Playing With Water and Language: A Write Out Poem

A prompt in the latest Write Out newsletter was all about nature and how ideas can jump from language to language. By chance, I saw a daily poem from Poets.org entitled “The River” by Manuel Jose Othon and when I read it, I realized the poem had been translated into English from its original Spanish.

One line jumped out at me — as often happens — and so I decided to use that line to inspire my own poem.

The line from “The River” by Manuel Jose Othon:

Uplift your liquid songs, ye eddies bright

My poem, as a response, of sorts, or perhaps, another current:

I taste your words on my tongue,
young one – though ancient, too,
as the hours before the storm
that released you, and the pull from
the Earth’s center, irresistible –
your endless journey from riverbank
to raindrop never stops, does it?
You are forever in motion, dancing
to tides of ocean

I asked Claude AI to translate my poem into Spanish:

Saboreo tus palabras en mi lengua,
joven – aunque también antiguo,
como las horas antes de la tormenta
que te liberó, y la atracción desde
el centro de la Tierra, irresistible –
tu viaje interminable desde la orilla del río
hasta la gota de lluvia nunca cesa, ¿verdad?
Estás por siempre en movimiento, danzando
al ritmo de las mareas del océano

I queried Claude about its choices made when turning my poem into another language:

Certainly, I’d be happy to explain the translation choices I made. Let’s go through the poem line by line:

  1. “I taste your words on my tongue” “Saboreo tus palabras en mi lengua”
    • I chose “saboreo” (I savor) instead of a literal “pruebo” (I taste) as it better conveys the idea of experiencing or relishing words.
  2. “young one – though ancient, too,” “joven – aunque también antiguo,”
    • This line is a fairly literal translation, maintaining the juxtaposition of youth and antiquity.
  3. “as the hours before the storm” “como las horas antes de la tormenta”
    • This is a direct translation that preserves the original imagery.
  4. “that released you, and the pull from” “que te liberó, y la atracción desde”
    • “Released” is translated as “liberó”. For “pull”, I used “atracción” (attraction) which in this context conveys the idea of a gravitational or magnetic pull.
  5. “the Earth’s center, irresistible -” “el centro de la Tierra, irresistible -”
    • This is a straightforward translation. “Earth” is capitalized in Spanish (Tierra) when referring to the planet.
  6. “your endless journey from riverbank” “tu viaje interminable desde la orilla del río”
    • “Riverbank” is translated as “orilla del río” which literally means “river’s edge”.
  7. “to raindrop never stops, does it?” “hasta la gota de lluvia nunca cesa, ¿verdad?”
    • I translated “never stops” as “nunca cesa” which is slightly more formal than “nunca para”. The rhetorical question is maintained with “¿verdad?” (isn’t it true?).
  8. “You are forever in motion, dancing” “Estás por siempre en movimiento, danzando”
    • “Forever” is translated as “por siempre” which is more poetic than the also correct “para siempre”.
  9. “to tides of ocean” “al ritmo de las mareas del océano”
    • I added “al ritmo de” (to the rhythm of) to better connect the idea of dancing with the ocean tides, making the metaphor more explicit in Spanish.

Throughout the translation, I tried to maintain the flow and imagery of the original poem while adapting it to sound natural in Spanish. The theme of water’s cyclical journey is preserved, as are the poetic devices like enjambment and the overall free verse structure.

And, well, just because, I took Claude’s translation of my poem and asked ChatGPT to translate back into English:

I savor your words on my tongue,
young – though also ancient,
like the hours before the storm
that freed you, and the pull from
the center of the Earth, irresistible –
your endless journey from the riverbank
to the raindrop never ceases, does it?
You are forever in motion, dancing
to the rhythm of the ocean tides

So, pretty close to where my poem started.

Peace (and poems),
Kevin

Puddle Is (A Poem)

Poetry For The Planet Prompt Aug15 - 1

As we move towards Write Out 2024 (“Poetry For The Planet” is the theme), a series of posts are encouraging us to write our own poems. The latest uses Lucille Clifton’s The Earth Is A Living Thing as mentor text for a metaphor poem. I used the idea of a puddle.

Peace (and wonder),
Kevin

Borrowed Lines: You Are Here

https://m.media-amazon.com/images/I/519nmgy+X-L._SY445_SX342_.jpg

A recent collection of poems, edited and curated by Ada Limon, inspired me to write some of my own poems, borrowing lines to build off. The original lines all come from poems in You Are Here: Poetry In The Natural World (edited by Ada Limon)


The sky is a century with no windows

from ‘To A Blossoming Saguaro’
by Eduardo C. Corral

lost count long ago
of how many rainstorms
arrived after you wandered
the windows left open, too,
time just dribbling in
with the wind, letting rotations
moisten the frame around which
the world might be watched,
one tear after the other year
until the canvas of sky
disappeared entirely


i’m sorry to the trees i grew up with

from ‘You Must Be Present’
by Jose Olivarez

I couldn’t find you now in the woods even if I tried
which sends me sad but maybe makes you glad
that this thief with a knife and a Sunday morning free
can’t add to the harm that was done to your skin,
the rough outline of a curved saxophone swallowed up
but for my dreaming, the protective sap that stuck
to the edge lip of the knife, how hard it was to wipe it off,
never closing tight ever again, like my eyes
in the remembering – the cut but not the place
where blood was drawn


make small steps.
in this wild place
there are signs of life
everywhere

from ‘Lullaby For The Grieving (at the Sipsey River)’
by Ashley M. Jones

slow go slow
this we know
but always forgotten –
that the wild places
wild spaces have stories
to tell, poems composed
beneath roots, reverberations
of a turning Earth, cursed
to forget the role of reader:
slow go slow
this we know


I only use words like stones because we are far away

from ‘Close-Knit Flower Sack’
by Cedar Sigo

We used to search
riverbeds and
shore lines
for the flattest of stone,
the thinnest of story,
just smoothed-out words,
in order to skip across
the surface as if
what we were saying was
lighter than air,
but no longer –
now we spend time
on the odd rocks
with strange angles,
the kind that makes
a distinct sound
one rarely forgets,
before plunging under
water


the moon mistaken
for a hole in the sky

from ‘If Fire’
Jake Skeets

fingers
in the stars,
then,

the galaxy,
a tapestry
of etchings

I’ve begun
to come
unwoven again

filling space
with words
and dreams


… the rivers

will set their stones and ribbons
at your door if only

you’ll let the world
soften you with its touching

from ‘Reasons To Live’
Ruth Awad

Raw sound bathes
the boy, the ripples
of river on stone,
he submerges himself,
nearly but not really,
alone, his mind, a million
miles from home


Thanks to all the poets who wrote and to Ada Limon for choosing and supporting those poems and poets.

Peace (in the natural world),
Kevin

Deepening Connections: Teacher Ranger Teacher Program

The National Parks Service

Although I have been connected through my work with the Western Massachusetts Writing Project to the Springfield Armory National Historic Site (through facilitation of youth writing camps, professional development for educators, the Write Out initiative each October , and more), this summer I am going to be getting a little deeper into the workings of this Western Massachusetts National Park site.

I was selected to take part in the NPS Teacher Ranger Teacher program, which is an intensive summer of work exploring place-based learning and spending time at the Springfield Armory to learn more about the myriad of aspects that go into a place with deep historical roots to our country (as its first federal arsenal). There will also be a project that I will be developing for the site.

Part of the work is a graduate level course through the University of Colorado: Denver and I am looking forward to the place-based and park-based activities.

Learn more about the TRT program.

Peace (and learning),
Kevin