Tag: videohaiku

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A year into the pandemic, do I still remember how to kiss, or even to hug? Is it a muscle-memory thing, like riding a bicycle? I’ve forgotten whole languages, one lonely drink at a time. I barely remember what it’s like to be in a room full of strangers. Will we ever pretend that’s normal again?

last year’s pod
still holding on
to next year’s milkweed

I walk to the end of the mountain above the gap. To the east, the giant gray steps of the limestone quarry. To the north, the paper plant with its white flag of vapor. The railroad following the river and the interstate following the ridge. Snow has taken its blank eraser and retreated to higher ground, but the bare earth offers nothing new in its place. Not yet.

noon whistle
I pause to eat a handful
of old snow

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I turned 55 on the first spring-like day in late February, which felt like a cosmic mixed message. For weeks I’ve been fighting low-level depression about getting older and being a failure as a husband — and by fighting I mean going for long walks, mostly on snowshoes.

bone-tired
ogling the snow-free
strips of field

My birthday was shopping day, though, and when I got back to my parents’ house with their groceries, just past noon, Mom surprised me with a cake. And it was warm enough to sit out on their veranda and talk. It took me back.

When I think about my childhood now, it seems to me that I spent an inordinate amount of time just kind of poking at things with a stick. I suppose that must sound absurd to anyone who grew up with video games and the internet.

decades
after the last train
tree-of-heaven

I’m consoled by the thought that this sort of arm’s-length but intent preoccupation with whatever was in front of me may have been the perfect preparation for being a haiku poet. Though of course predilection doesn’t necessarily imply a gift. It would be presumptuous to assume that nature works like that.

growing
a thicker exoskeleton
rock tripe

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Maizy the terrier had always traveled in circles — around the park, around the block, around the garden — but toward the end her circles tightened drastically till they occupied no more than a corner of the kitchen. She no longer recognized her own front door and became utterly lost. Except, it seems, on the lap of her life-long companion, my partner Rachel. Her fits become more frequent and prolonged, each time leaving her a bit more impaired. Finally Rachel made the agonizing decision to have her euthanized. She found a vet who made house calls, and when the time came, held Maizy as if she were an infant while the drugs kicked in. Rachel said she felt her relax all over, and then, a few seconds later, simply stop breathing.

windy sidewalk
a spiral of leaves lying down
at my feet

It was hard not to be there with them in London. We’ve been crying a lot over Zoom. How strange it is, Rachel says, to wake up and walk around without Maizy. “Death is the only thing we know to be true,” says my 70-year-old friend L. We’ve been walking through an oak-hickory forest on a mostly unmarked trail for a couple of miles, and we’ve come to a T-intersection with a sign that points left to “Beach – 1 mile” and right to “Dead End – 1 mile.” We turn right. And after a mile we find ourselves in a large clearing filled with reindeer lichen. There are certainly worse places to end up.

curled
in a maze of roots
another life

***

Process notes

I hope it’s obvious what I was trying to do here. I did take quite a bit more time with this than usual, in part because I wasn’t there for Maizy’s death and burial (in the back garden). I wasn’t willing to write a haiku solely based on second-hand experience.

It might be worth sharing some of my alternate attempts at a closing haiku. For a placeholder while I worked on the video, I had something based on a morning porch observation several days ago:

mid-morning moon
the only cloud dissolving
into blue

which seemed Buddhist in a way I’m not, and didn’t bring it back to Maizy and circling, aside from the cyclical phases of the moon, which I continued to play with:

nestled
into a box
daytime moon

garden burial
the daytime moon’s
thinning tooth

maze of roots
for a cardboard coffin
another life

It occurred to me last night, while gazing at the edge of the woods where tree trunks were faintly visible, that it’s entirely accurate to consider trees (and plants in general) as beings of light, however New Agey that may sound.

For what it’s worth, I believe this is the first I’ve ever included a post-credits scene in a videopoem. But surely the dead deserve a secret ending.

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A tree seems like the very embodiment of presence, but this time of year it is mostly absent, at least aboveground. It’s real in the same way that a life-size cardboard cutout of a politician is real. You can project anything onto it. It’s another blank space on your mental map.

sleeping it off
on a park bench
fallen leaves

In her poem “Come Into Animal Presence,” Denise Levertov celebrated the rare privilege of being ignored by wild animals. Lately I’ve experienced this to an unusual degree: with a doe that barely stepped aside for me, a beaver that went about its business fifty feet away, flocks of turkeys that walk right past, and small creatures foraging all around me in the night woods. I’m not sure what I’ve done to deserve it, but I’m humbled and grateful to be allowed to fade into the woodwork.

hole
between the stars
flying squirrel

*

Process notes

This was a rare instance where the filming and writing happened nearly simultaneously, on or near a convenient bench in the forest. It occurs to me that it’s the first I’ve made a black-and-white film in a year and a half—and the last time I did so was also to focus attention on shadows. I’m a simple man.

This is one of those times I really could’ve used a tripod. I tried speeding up the entire five-minute clip of the tree shadow eclipsing the hand shadow, for a time-lapse effect, but the shaking became too distracting, even after I applied an image-stabilization effect. On the other hand, keeping the whole film in real time might’ve been the best approach anyway.

The drone music in the soundtrack (thank you, pseudonymous Freesound user) might or might not be a necessary addition to the natural sound, which does include some distant raven croaks and lots of falling leaf noises. I worry perhaps a bit too much about taxing viewers’ attention spans.

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Seeing the almost bare trees as antennae—intelligence-gathering stations for an alien umwelt, the rococo feelers of moths.

lonesome hollow
speaking softly so the void
doesn’t reply

What I miss most of all in the colder months: beetles and butterflies, crickets at night, and those delicate ninjas the ichneumon wasps. The way they tap the ground with paired canes, sniffing, listening.

unmarked path
a stick leaning on a tree
for the next hiker

*

Process notes

This was born of the simple desire to film the brown and gray colors of a November forest, on a hike in another hollow nearby. Standing in the same place, I did two slow pans from opposite directions, then thought about combining them with a horizontally split screen. When I tried that in editing, though, it wasn’t as satisfying as simply using two halves of the same shot, one of them reversed.

That hike was yesterday. Today, a hike on my home ground shook loose the text.

It seems as if the Pandemic Season series won’t be ending any time soon. I will probably end up re-naming it Plague Year, echoing Defoe, or something similar.