Photo: Peak of Bluff Knoll in top left, cloud coming in, by the time we got there it was shrouded in cloud but so worth the climb.
What will You Shout About?
So with intention you climbed the mountain, along the way you thought of every thing and how it all worked or didn’t, and you reached the top though not without scars, so now that you’re here at the peak with no one else around, what are you going to shout about?
The grain runs full length, once it would have been fresh, light and smooth now it carries many stories its scars and dents testimony to every known opinion every fantasy expressed, there are small notches along each edge accidental, intentional? patches where the varnish has worn thin and coffee has remained strong, here stands a repository of grand narratives even love declared - someone’s heart is carved at one end like a flesh wound, fortunately I am spared any splinters, my musing ends as my coffee arrives and the table holds my thoughts.
Photo: From a 2018 camping trip through the Eastern Wheatbelt, a gnamma hole. Gnamma is an indigenous term for a naturally occurring rock cavity, hole or depression capable of holding water. This one, near Nungarin, is reputed to be over three metres.
Form: a Cherita
ai li created the cherita poetry form in June 1997, so the form is now 29 years old. The official guidelines:
“Cherita is the Malay word for story or tale. A cherita consists of a single stanza of a one-line verse, followed by a two-line verse, and then finishing with a three-line verse.”
The order may also be inverted or turned upside-down: 3-2-1.
A cherita is always untitled and without rhyme.
The bathroom mirror so stark.
My face in the rock pool reflects a shy softer self that yearns to return.
It’s hard to pinpoint when I put the armour on but somehow I forgot to take it off again, it seems now is the time.
At dVerse Lillian is hosting Poetics with an invitation to write a poem using sewing terminology – I’m going to list some terms/terminology used in sewing, and I’d like you to use at least one of them in your poem for today. Bonus points if you use more than one! The topic and form of your poem is up to you. And obviously, you simply use the word/words within your poem. The word/terms will adapt their meaning to the topic and flow of your poem. In other words, the poem is not about sewing! It simply will include at least one of the terms below – blending in to the sense of your poem. I’ve capitalized the words so you can quickly see your choices. I’ve also included the meaning of the term as it relates to sewing….just in case you’re interested. So here’s the list you can choose from: applique, backstitch, bias, binding, bobbin, buttonhole, darning, dart, ease, facing, feed dogs, gather, hem, nap, seam, seam ripper.
Surely no one buys a shirt with hems, seams coming undone, stitching unravelling fabric fraying, we might take it back to the store and argue for a replacement, checking it thoroughly this time, if only we could take the world back - we can't because we did the damage and so the guarantee is void, same with our representatives we willingly played into that con, but when I look in the mirror I feel happy that my seams are all unravelling, the binding which held me in place for so long has given way - I'm no longer that size and I must try on some new ideas.
At dVerse Merril is hosting Prosery where we are offered a line from a poem to include within a piece of prose. The line Merril has chosen is – “The granites and schists of my dark and stubborn country.” from ‘The Hill Burns’ by Nan Shepherd.
Note: I would encourage you to read some of her poetry. I also enjoyed her Cairngorm memoir (it has the quality or feel of an almanac) ‘The Living Mountain’ her prose often resembles a prose poem.
Reflection In Rock When you live on the land it pays to know your rocks. Granite resists diamond tipped drills and blades, schists are resistant but tend to fragment under impact. I liked both for creating dry-stone walls around the farmhouse, granite was best for ramps and foundations. Both could fracture a plow disk. Granites and schists are also water collectors and form part of the songlines for the indigenous peoples, they were gathering places – birthing rocks for the women, initiation rocks for young men. So too the rocks are ecologies. The granites and schists of my dark stubborn country cause me to reflect on my own nature. Strength is critical for survival, too much causes resistance. Where am I resistant? Where might I crumble? Am I open enough to be part of an ecology, a community of strength that is yet porous, welling up with life?
Feelings rise, emotions evolve and disrupt even in the nicest of ways, but it’s not he moment or the day, it’s my equilibrium even by a thin fleeting slice. It’s all mine, the frogs in the pond might sense my feelings but they don’t necessarily share them, and if the did would I ever know? As I look out the window emotion is walking along the street, driving up the road,, watering the garden, weeding, delivering the mail, heading to school.
It doesn’t necessarily relate solely to anger, though it might, and when any emotion wells up like a spring coming to the surface, they say to split logs, and that may be good (if you have logs) but I find my wholeness in the garden or in my writing. These are places of ponder and reflection. This becomes a time of honest review, a portal to understanding myself, my actions, responses, outcomes. As I circle the spiral of my own story it takes on new avenues of light. These are the moments of the most imperfect transformations, like the caterpillar into a butterfly with one less leg or a frayed right wing. The emotions are accounted for, understood, even transcended, but a trace remains as authentic ground transforming me slowly.
feelings pool deeply welling completely through me slicing spade transforms.
Photo: One of many trails through the State Forest, Mundaring, June 2025
I know It
As with the inward to outward breath where does the past end my present begin, will my shadow speed up to catch me, and what of my self - is it incontrovertible as lovers are whole, I'm not as sure now as I was then, but I do know something is changing.
At dVerse Merril is hosting Poetics with and invitation to two options –
You may write an ekphrastic poem inspired by Claude Monet’s “The Studio Boat.” Your poem does not need to include anything about reflecting or reflections, but it can. AND/OR
You may write a poem on reflection, whatever that means to you—self-reflection, reflection on time’s passing, a reflection in a pool of water, etc.
Claude Monet, The Studio Boat, 1876, Oil on canvas
On Any One Day
Oh I have so many questions but for the main part the doors are always open for interpretation in the moment where I find myself distracted, daubing, reflecting on what life is all about while wondering which of these is in fact the real one, some would venture that the more solid, defined representation is reality, while others would conjecture that the other less defined, even blurred version approximated a reality, I warm to the rippled version of right brain offering, but then I know that is the best version of myself on any one day.
For Tanka Tuesday Yvette has invited us to write a tanka or experimental tanka and to include a multiple meaning word (list provided) for more detail follow the link above.
I have chosen the word harbour and the form is tanka (5-7-5-7-7)