In the forgetfulness of time

Once, years ago when I was feeding stray cats, careless inattention to the dwindling supplies left me without cat food for two days. Around mid-afternoon of the second day, I remember the boldest of the half-grown kittens scenting the remains of my lunch & clawing her way up my shirt front, sharp teeth raking through my chin hairs & her sandpaper tongue running back & forth across my lower lip. It wasn’t anything like love – or then again, maybe it was.

Hunger itself is difficult to recall. Once eased, the creases in the belly leave little trace of themselves & one craves nothing further than a nap. “I want to want,” an anorexic once told me. She had learned the art of oneness from a Mobius strip.

On New Year’s Day, carving the pork roast, my knife scrapes against the shoulder blade of the pig – an animal so similar to humans in its anatomy that students of forensic anthropology often work with pig carcasses, and headhunters in New Guinea used to call their human quarry “long pig.” I lift the bone free of the roast & gnaw the few scraps still clinging to it. The slices of meat lean together in the serving dish like pleats of an accordion, or a sideways pile of books – thin, juicy romance novels, meant to warm the body & dull the brain. Come, let us eat our hearts out, making believe the year is young again & the hungry months of winter are at our backs. Oh oracle bone, scapula, let us gorge.

A chef’s guide to choosing poetry

Poetry is a natural accompaniment to food. Poem chemistry helps to soothe the psyche, appetize and refresh the palate, and assist with digestion.

Some combinations of poetry and food are more successful than others. However, attempts to set down a complex list of “rules” for matching food to poetry are ill-advised; the myriad variables of preparations, spices, sauces, side dishes, etc., along with individual palate and preference, make rules impossible. That being said, I’ll step into the quagmire and share some generalities that guide me well…

If the food flavors are complex, keep the poetry simple. If the poetry is complex, straightforward and simple food preparation will allow the poems to show off.

Matching the general flavor profile of the poetry with that of the food usually works. Keep the categories simple:

FOOD FLAVORS and corresponding POETRY FLAVORSSalty or sour (savory) – Light, crisp, imagistic

Bitter – Difficult, avant-garde, acerbic

Rich – Word-rich, metaphorically dense, allusive

Sweet – Musical, direct, ecstatic

When flavor elements mix in the food, try the same combination in poetry. Tomato sauces, for example, usually combine both sweet and sour flavors, so try poems that have both aural and syntactic complexities. This is not an exclusive or hard-and-fast system by any means; there are other combinations that may work just fine and serendipitous surprises are always palate-thrilling, but this chart can be a good starting point.

Occasionally a particular flavor element in a book of poems may be echoed by one in the food, but these pinpoint matches have an element of risk. A hint of cinnamon, for instance, can work wonders with some, but not all, Ondaatje. Poems by Charles Simic tend to go very well with sausages. But best try any new combinations on yourself before serving them to guests or large gatherings.

SPARKLING POEMS are very all-purpose. Wit is a great refresher and palate cleanser. These kinds of poems are especially good with savory foods. Want a treat? Try May Swenson with pizza!

CRISP, IMAGISTIC POEMS are a good all-purpose category. Allusive poems with little or no enjambment will harmonize with a wide variety of dishes.

RICH, FORMAL OR NEO-FORMALIST POEMS are good matches for foods that have cream or butter-based sauces. Some enjambment here is usually all right.

HAIKU work with delicate foods, such as trout.

ECSTATIC OR SURREALIST POEMS are the best choice for spicy (hot) cuisine, such as some South Asian or Mexican dishes. Be careful trying to match orgasmic poems with orgasmic desserts – one will probably climax before the other, leading to a combination of satiety and dissatisfaction more reminiscent of The Wasteland.

LIGHT POEMS are another good all-purpose category. They are fine with roasts and stews, fowl, and light meats. Many will even work with meaty fish, like salmon, swordfish, or halibut.

BEAT POEMS are reserved for steaks, chops, charred dishes, and scrapple. They also handle acidic foods, like tomato sauce, and take the edge away from bitter greens.

Feel free to experiment. Learn what works for your palate. The important operative wisdom is to eat and read what you like.

For more specific recommendations of poetry, barely in time for holiday Christmas shopping, see here.

Viscera for breakfast

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Meanwhile, back on the mountain, the first snows of the season make the blues come down. I don’t want to say that these are my blues, necessarily, but there are always plenty to go around. I am thankful for the cold in which sound does not travel so fast or far; it’s quiet enough that you can hear the beech leaves whistling through their teeth.

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Wounds are harder to hide now. But those who cause the wounds are just as vulnerable, easy targets against the snow. If you need somewhere to take shelter & to sharpen your claws, baby, look no further.

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Here in the mountains, the sun can take a long time to reach down into every cove & hollow. Some places don’t see the morning sun until well past noon. We can sleep in late.

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But some days, you know if you lie down you might not get back up. The comforter is heavy with the breast feathers of geese that never got to fly south.

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I saw seven crows in an oak tree, silent, waiting for the hunter of images to go on past & for the sun to thaw their breakfast of viscera. Dense red muscle of the heart, stomach like a deflated balloon, the liver’s sour purple disc: everything about a deer is beautiful. Even the footprints of these eaters are thinner & more delicate than I would have expected.

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Look, here’s an empty seat. You could well say it’s nothing looking at nothing, & you might be right. On the other hand, the sun’s not as lonely as he looks: for those in the know, this is by far the best time of year to go sunbathing. You can sit fully clothed in the midst of all this nakedness & feel rich & lucky & happy to be alive.

Letting go

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The first frost came on Friday night as we sat around drinking. At a certain point, we had to bring the beer in from the porch to keep it from freezing. While I slept the dreamless sleep of inebriation, the air was crystallizing around every leaf and blade of grass, like frozen foam from the season’s drained cup.

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I love the way a beer with good head retention leaves a record of its passing in the white, lacy rings on the side of the glass. It’s a good argument for sipping rather than chugging. But that’s the funny thing about consumption, isn’t it? The more attached you become to the act of consuming, the less you enjoy it. To get the most out of a beer – or anything, really – you have to take it one sip at a time.

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The bark of pignut hickories forms rings, too, healing over the lines of holes drilled by yellow-bellied sapsuckers. They are slow-growing, long-lived trees, seemingly unaffected by the intensive tapping of their sap. Their nuts aren’t as sweet as those of shagbark hickories, but the squirrels still seem to catch most of them before they hit the ground.

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The red, black and scarlet oaks are the last trees on the mountain to turn color, long after the understorey black gums, sassafras, witch hazel and spicebush have shed their leaves. By holding onto their leaves so long, they risk damage from early snows or ice storms, but oaks are very good at sealing off wounds to prevent infection from spreading to the rest of the tree. And shedding leaves, it turns out, is about more than just letting go; new research suggests that trees attempt to poison the ground against competitors with the chemicals that form in their leaves as they turn color.

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Within the space of a few days last week, high winds stripped the ridges mostly bare, and now suddenly one can see for hundreds of yards through the woods. The rising sun hits my front porch an hour earlier, even as the dawn comes later. I don’t think of winter as a dark time, but a time of clearer light and more interesting shadows. While vistas are opening up, life is turning in upon itself, rediscovering the rewards of contemplation and of altered states.

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Who can blame shamans for trying to become bears, those champion sleepers and masters of retention? Right now, they’re living quite literally off the fat of the land, but when a bear enters hibernation, its large intestine forms what is called a fecal plug. Winter, in other words, is the one time of the year when a bear does not shit in the woods. You can walk along enjoying the dawn or sunset sky without a thought for where you put your feet.

Eating a tomato

I wake at 2:00 a.m. with a bad taste in my mouth, and I think I know what it is: it’s me. That slightly metallic taste of ego. It mingles with last night’s eggplant curry, which was a culinary disaster. I have been cooking too quickly, eating too quickly, I have been much too quick to speak my mind. Why such haste? It’s as if we’re shrews or blind moles, daydreaming about slowness and enlightenment in between our frantic gropes and gulps. Fortunately, I have a very forgiving digestive system – but perhaps it would be better if I didn’t. It might force me to slow the hell down.

I remember as a child how I pictured my insides: a great, dark cavern below the heart and the gracefully flapping lungs. The throat ends in a sort of chute, out of which food and drink drizzle or plop into the swamp below. I don’t know when or how this image originally took shape in my imagination, but I remember clinging to it in a half-unconscious sort of way well into my teenage years. The fact that it was incompatible with what I had learned about human anatomy in school was not in itself enough to banish it; I had to bring it to the surface of my consciousness and reason it away, just as I had driven out ghosts and under-the-bed monsters years before.

Now I wonder if we don’t dishonor and diminish the imagination to enslave it to our daytime egos in such a manner. In a conversation last night before bed, my linguist brother reminded me that the root meaning of “tantra” is “trick.” The idea that there might be educational value in training our minds in conscious self-deception, though fundamental to vernacular religious traditions the world over, seems almost incomprehensible to those of us accustomed to thinking of the mind as an innocent mirror. The religions of the powerful – the traditions whose central focus has become the perpetuation of power – school us in reduction, in the wonder-sucking necromancy of algebra. Something either is or it isn’t, Parmenides intones. Do good and eschew evil, the sacred texts say, making stern necessity out of virtue.

In my freshman year of college, I plowed through a lengthy tome on Daoist cosmology that simultaneously attracted and repelled me. It devoted many chapters to detailing the Daoist microcosm of the body circa the first millenium A.D., and I remember being fascinated by the notion of such an elaborate system of visualizations based on nothing but idealistic desire. I mean, it’s not as if the ancient Chinese didn’t have good models for the way the body worked. The relative effectiveness of technologies such as Chinese herbal medicine, acupuncture, taiqi and martial arts – all ultimately derived from the same stream of popular religion that spawned Daoist microcosmology – surely testify to the power of the trained imagination, I thought. But I found the focus on physical immortality very off-putting, perhaps because it clashed with my own, Western tendency to devalue the concrete in favor of the abstract.

In any case, it was hard not to be charmed by the culinary route to immortality advocated by popular Daoism: one first eliminates meat, then grains, then vegetables, then finally even liquids until one learns to subsist on nothing but air. Though this might sound like a recipe for anorexia, it’s hard to see how it could lead to that in practice, given the Daoist emphasis on corporeality. Isn’t anorexia nervosa pretty much a Western disease, deriving from our endemic devaluation of the body and the earth? Daoism simply promotes the endearingly goofy idea that the air itself has nutritive value, if only we were sensitive enough to appreciate it. I suspect that the real effect of a Daoist diet would be to train one in greater attention to the sensual qualities of everything one ingests, and in learning to distinguish what the body really wants from what the grasping ego thinks it wants. And lately I’ve been hearing about new research by Western nutritionists suggesting that regular fasts might indeed form a vital part of a healthy diet.

It seemed to me then and still seems to me now a kind of blasphemy against life to try and prolong it indefinitely, but isn’t that what all the world religions are about – abolishing death? Or am I being unfairly reductionist to issue such a sweeping indictment? I do like the teachings about purifying or spiritualizing consumption that are near the center of so many traditions: the Christian communion, the Jewish Pesach, the North American rituals of inhalation – smoke of tobacco, cedar, sage.

I sleep late, break my nightly fast with coffee as usual. Sitting in the sun on my front porch, I think of Vicente Aleixandre’s poem about the old man slowly nibbled away by sunlight. My maternal grandfather attained that level of sweetness in his old age, I believe, though through some cruel trick of fate his death was preceded by several days of agony. I remember last night’s news about the death of my friend Tom’s indomitable mother-in-law: she died peacefully at home, he said, ending her life with a sigh.

I shut my notebook and walk around the house, figuring on putting off eating for a couple more hours at least, but then I spot a ripe cherry tomato on one of the volunteer vines twining through the butterfly bush. To me, a cherry or grape tomato has the perfect proportion of firm flesh to juice. This one’s skin is encased in a thin film of dew, and for the fraction of a second before my teeth close around it, my mouth fills with the pungent, feral redolence common to all the Solanaceae, from jimsonweed to belladonna. Then its blood-colored mucilage mingles with my saliva: such acid sweetness! Grace isn’t something you say, I think, it’s just what happens. And here’s another one. Oh taste and see.

Close

After one day with low humidity (Wednesday), it’s back to being almost unbearably close & sticky. Even thinking seems too great an effort. Frustrated, I lean back in my chair & turn my head upside-down, gazing at the ceiling until floor & ceiling trade places. How clean & uncluttered the house suddenly appears!

Outside in my garden, a monarch glides in & lands on the butterfly weed, orange rhyming with orange. After a few minutes it lifts off & lands on the budleia’s purple torch. Stained glass wings sail rather than flutter. Thanks to its larval nursing on milkweed poisons, the monarch is able to save for transcontinental journeys the energy it would otherwise have to expend on chaos – the typical butterfly strategy for evading capture.

Up at my parents’ house, a red-spotted purple clings to the kitchen screen door handle, dusting the knob for thumbprints. Its wings are tattered & faded, with three large holes torn out of the bottom edges. I picture the phoebe diving for the dark abdomen & coming up with a beak full of dry leaves. Close, but no cigar.

I’m peeling my first ripe peach of the season. The stem gone, I can see into the center where the halves of the pit have pulled apart. I hold it up to the light. It glows like the sun’s own chapel, golden yellow. But as I cut the flesh away, a mound of mold appears in each hemisphere of the pit, in size & color identical to the clumps of dust that gather in the backs of closets & under the bed.

As I walk back down to the other house, I think: closeness is something that alternately attracts and repels. Here the cockleburs, there the tear-thumb; here beggar ticks, there raspberry canes. I duck my head to dodge a wasp, swipe ineffectually at a mosquito.

Back at my writing table, I stare at the ceiling some more. This is like doing the back stroke – the only style of swimming I enjoy. Once or twice each summer it’s fun to go to some little lake in the mountains & bare my fishbelly-pale skin to the too-close sun, ears under the waterline, kicking & sculling just enough to stay afloat. It’s so quiet under the water. And the sky looks more & more like another, fully inhabitable world, so clean & uncluttered.

The peach was delicious.

Creature

I used to work with this guy named Creature. I guess it’s been about twelve or thirteen years ago now. Creature was a large biker (ex-Pagans) and Vietnam vet who walked with a limp and sported a big black moustache and an unruly mop of hair. He ran the kitchen of a fairly high-class restaurant where I was hired to do prep work. Like most bikers I’ve met, he was a good storyteller with a very dark sense of humor. He rarely raised his voice, even when things got crazy – as they did almost every night in that cramped kitchen with a permanently broken dishwasher and an almost comically snooty female maitre-d’.

I remember Creature’s three-minute lecture on self-defense, prompted I think by disgust at my professed pacifism and my ignorance of all things violent and manly.

“First, do not go for the balls. You never know if a guy still has anything down there – a lot of real assholes don’t, they got ’em shot off or blown up in Vietnam and they’ve been trying hard to make up for it ever since. You kick ’em down there and you only piss ’em off.

“No. Here’s what you go for: bridge of nose, throat, knees. The first is the easiest, ’cause you can break a guy’s nose just with a head-butt. Nothing is more painful or debilitating. Just grab him by the shoulders, pull him toward you, and slam down on his nose with your forehead, like this.” He demonstrates with me, except for the actual butting. We were taking a smoke break on the back steps.

“Just remember Quiet Riot – ‘Bang Your Head.’ Might be tricky if you got glasses on, though, ’cause they’ll go flyin’.

“Number two: throat. If you have to strike a blow, make it count. This is what you do if you really want to take someone out. You can kill someone that way, though, so be careful.

“Third, knees – a kick from the side or from behind, straight to the body’s weakest link. Then when they’re down, kick ’em again – anywhere you think it’s gonna hurt.

“If you feel like you shouldn’t kick someone when they’re down, you shouldn’t be fighting at all. There is nothing pleasant or gentlemanly about fighting; it’s a nasty business. There are no fucking rules of war. You know that. You say you don’t believe in violence; I respect that. But if somebody’s raping your mother, you’re not going to just stand there, are you?

“I always tell people: never start a fight. Never put yourself in the position of having to start a fight. And if someone forces it on you, make sure you tell ’em how much this bothers you. After you break the guy’s nose, or whatever, be sure to say as loud as you can, ‘I really, really, really hate to fight.’ If he has any buddies who might be thinking of helping him out, that always makes a real good impression.”

Creature wasn’t shy about discussing his American Indian ancestry or his criminal record. “When I was your age, man, I was in and out of jail for burglary, and when they finally got me for armed robbery, the judge gave me a choice: get a degree in advanced anal engineering at State Penn, or go to Vietnam. There was no Door #3 – I checked.

“So that’s how I ended up going to Vietnam, a grunt with a gun on a mission to kill Indians whose major crime was resisting being rounded up and herded onto reservations. And kill I did. Kill kill kill. Did it make a man out of me? No. It simply made me much more determined never to have anything more to do with assholes in uniforms. I don’t care if you’re a Pennsylvania state trooper or an army sergeant, if you’re wearin’ black pajamas or black robes. Something about a uniform immediately turns whoever wears it into an asshole.”

One of the punks I used to hang with saw me wave to Creature across the street one time and was aghast. “You know that guy?”

“Yeah. Why?”

“That’s the guy who came to our house when we fell ‘way behind in rent. We had let the phone bill slide, too, so the landlord couldn’t get a hold of us. But rather than stop by to talk things over, he sends a goon. That guy. He just walks in the front door one day, no knock, doesn’t say a word. Just limps in and sits down in the middle of the room, folds his arms across his chest, and sits there.”

“Didn’t you go, like, ‘Yo, who the fuck are you?'”

“No, I guess we were too surprised and scared by the whole thing. And the phone didn’t work, so it’s not like we could’ve called the police. He just sat there for like half an hour —- well, I don’t know how long it was, but it seemed like a real long time — looking at me, looking at my housemates as we walked in and out of the room trying to act all casual and shit. It was like having a bomb in the middle of the room, and you don’t know if or when it’s gonna go off. He finally got up and left. Never said a word.”

“Did you pay the rent?”

“No, but we all moved out a few days later. We didn’t want anything more to do with that landlord.”

I lost touch with Creature after I got fired. (My crime: attempting to make a meatless soup.) One of his nephews by a previous marriage was a good friend of mine, and he kept me informed of Creature’s exploits — which remained fairly tame, at least on the surface. He was just a genial, law-abiding guy who ran a good kitchen and whipped up a mean roux. And no, I don’t know how he got that nickname. I was always afraid to ask.

Drinking alone beneath the moon

by Li Bai
(a.k.a. Li Po, 701-762)

Yi hu jiu

I.

In the middle of the flowering grove, one jug of beer.
Drinking alone – no friends or family near –
I raise my cup, invite the moon to join me.
Counting my shadow, we’re a party of three.

But moon’s a lightweight, doesn’t know how to drink,
And shadow simply matches me cup for cup.
For now, though, they’ll do just fine, I think.
Spring is here, my friends! Let’s live it up.

I start to sing; the moon sways to and fro.
I get up and dance – shadow reels in disarray.
Sober, we crave the company of some jolly fellow;
Drunk, each goes his separate way.

Freed of all ties, yet bound forever more,
Let’s get back together on the galaxy’s far shore.

2.

Come April, and the village of Xianyang lies deep in fallen blossoms. Who can bear to be alone with sorrow in the spring? Who can gaze on such sights as these and stay sober? The unseen Maker rolls his dice: for you, wealth and a long life; poverty for you, and a life cut short. But one mug of beer can balance life and death, even out a thousand things that confound the intellect. Drunk, I lose track of heaven and earth, sitting alone on my mat, unmoving, unmovable. I end by forgetting that I ever existed at all: pure joy, then, for the no-one left behind!

3.

If Heaven above be not besotted with beer,
why should a Beer Star appear in heaven?

If Earth, too, be not a tippler,
why do we find a Beer Springs on earth?

With beer thus beloved above and below,
drinking beer can hardly be against nature.

I’ve heard a clear brew likened to a sage,
while the slang term for a cloudy beer is saint.

Since I’ve drunk deep of saints and sages,
what need have I to search for spirit guides?

Three cups, and the Great Way lies open;
a gallon, and everything resolves into Suchness.

Simply strive for beer and find contentment.
Don’t speak of these arcana to the sober ones.
_________

This translates three of the four sections of the original poem. The first section best imitates the rhyme and meter of the original.

“Sage” and “Saint” were code words for strained and unstrained beer during a period of prohibition in the early Tang Dynasty.

For other translations of ancient Chinese beer-drinking poems at Via Negativa, see The guest (Du Fu) and Night drinking at the western pavilion of the Flower of the Dharma Temple (Liu Zongyuan).

The guest

by Du Fu
(712-770)

It’s spring, so the water’s high
on both sides of my house.
Watch your step.
I’m used to greeting seagulls –
whole flocks of them, every day!
Please excuse the fallen blossoms.
With no other visitors,
I haven’t swept the walk.
You’re the very first guest
to enter by the wicker gate.

Living so far from the market,
our meals are plain – no
fancy dishes. And poor
as we are, our beer’s
a little stale. But
we can invite my old neighbor
to drink with us, if you’re willing.
I’ll give a holler over the fence:
“Come help us finish off
the rest of this beer!”
__________

This translation is dedicated to my friend Chris.

Beer: The Chinese word jiu refers to alcohol in any form. Since most undistilled fermented beverages in East Asia come from grains rather than fruit, it seems more accurate to refer to them as beer rather than wine.

Night drinking at the western pavilion of the Flower of the Dharma Temple

by Liu Zongyuan (773-819)

We gather at the Jetavana
Sunset Pavilion,
immerse ourselves
in drinking meditation.

The mist gives way to darkness.
Water laps against the steps.
The blossom-laden trellis glows
in the moonlight.

Never let your exhaustion show
to Venerable Inebriation.
One glance and it’s clear
which heads have yet
to turn white.
__________

This translation is dedicated to all the bloggers gathering at the Cambridge Zen Center and elsewhere in the Boston area this weekend: Beth, Pica, qB, Lorianne, Leslee and Abdul-Walid.

Jetavana – One of the first Buddhist monasteries, a converted pleasure-garden. The poet probably knows it from the opening of the Diamond Sutra, a very popular text in Tang Dynasty China: “Once, the Buddha sojourned in the Jetavana Park with an assembly of twelve hundred and fifty bhiksus…”

immerse ourselves in drinking meditation – literally, “together pour samadhi beer (rice wine)”