This post isn’t a tribute as much as it’s an expression of my heart felt sympathy for the loved ones who knew well, loved, shared experiences with, worked along side beautiful human beings who recently lost their lives, while making their way somewhere on blustery roads in Saskatchewan. They lived, created, inspired…were fun and funny…sometimes despairing…sometimes challenged and challenging…I just feel sad that they are gone.
Among them, Michael Green. Over the next long while, Calgarians will be discovering so many reasons why we miss him. Some of this was felt at Rumble House last night, a visual arts space where artists of all walks can gather and paint with wild abandon. As Larissa so eloquently shared last night, having struggled personally as a result of the High River floods…ones art is sometimes all that gets a person through the struggles. “My art saved me.” Enriquito has his story. Dave has his story. Frank has his story.
I went to Rumble House with a bit of a heavy heart. Earlier in the day I had seen an image that Frank shared on social media. It was the image of the most spectacular and exotic moth. I was thinking about the absence of beautiful beings and about what their journey must be once letting go of the body. The body, through gravity, lives a part of its life grounded. Beings interact with other beings through voice and touch and smell. This is all so beautiful and I think that through such recent news as this, we are reminded to cherish the lives that engage us every day. Look, with care, upon the work of others. Value their creativity.
It is worth your while to read this poem in its entirety. It’s lovely. Thank you, Jess, for purchasing this piece at auction. Thanks, Bruce and Enriquito. Thanks for the image, Frank, and we miss you. The moth struggles toward the light.
The poem, The Man-Moth by Elizabeth Bishop
cracks in the buildings are filled with battered moonlight.
The whole shadow of Man is only as big as his hat.
It lies at his feet like a circle for a doll to stand on,
and he makes an inverted pin, the point magnetized to the moon.
He does not see the moon; he observes only her vast properties,
feeling the queer light on his hands, neither warm nor cold,
of a temperature impossible to record in thermometers.
But when the Man-Moth
pays his rare, although occasional, visits to the surface,
the moon looks rather different to him. He emerges
from an opening under the edge of one of the sidewalks
and nervously begins to scale the faces of the buildings.
He thinks the moon is a small hole at the top of the sky,
proving the sky quite useless for protection.
He trembles, but must investigate as high as he can climb.
Up the façades,
his shadow dragging like a photographer’s cloth behind him
he climbs fearfully, thinking that this time he will manage
to push his small head through that round clean opening
and be forced through, as from a tube, in black scrolls on the light.
(Man, standing below him, has no such illusions.)
But what the Man-Moth fears most he must do, although
he fails, of course, and falls back scared but quite unhurt.
Then he returns
to the pale subways of cement he calls his home. He flits,
he flutters, and cannot get aboard the silent trains
fast enough to suit him. The doors close swiftly.
The Man-Moth always seats himself facing the wrong way
and the train starts at once at its full, terrible speed,
without a shift in gears or a gradation of any sort.
He cannot tell the rate at which he travels backwards.
Each night he must
be carried through artificial tunnels and dream recurrent dreams.
Just as the ties recur beneath his train, these underlie
his rushing brain. He does not dare look out the window,
for the third rail, the unbroken draught of poison,
runs there beside him. He regards it as a disease
he has inherited the susceptibility to. He has to keep
his hands in his pockets, as others must wear mufflers.
If you catch him,
hold up a flashlight to his eye. It’s all dark pupil,
an entire night itself, whose haired horizon tightens
as he stares back, and closes up the eye. Then from the lids
one tear, his only possession, like the bee’s sting, slips.
Slyly he palms it, and if you’re not paying attention
he’ll swallow it. However, if you watch, he’ll hand it over,
cool as from underground springs and pure enough to drink.
Elizabeth Bishop, “The Man-Moth” from The Complete Poems 1926-1979. Copyright © 1979, 1983 by Alice Helen Methfessel. Reprinted with the permission of Farrar, Straus & Giroux, LLC. (because the Poetry Foundation provides for a share on Facebook and Twitter, I’m hoping this means that I may share the poem)
Source: The Complete Poems 1926-1979 (Farrar Straus and Giroux, 1983)