Veterans Day Parade on Woodward Avenue
For Rachel Button, who hails from metro Detroit but now lives in the state of Washington’s North Cascade Mountains, images of a Veterans Day parade on Woodward Avenue in Detroit remind her of the march that often goes unacknowledged. Specifically, Eric Seals photographs for the Detroit Free Press inspired her to write this poem:
You wanted the poor and tired huddled masses—
the slack-jawed and stubbled—
but we march alone on Woodward
uniforms stiff on our still-broad shoulders,
The Free Press took pictures.
Photos of men,
marching a street edged by empty sidewalks,
black men and white men
some of us in leather and flannel
others in uniforms which trim our bodies
into silhouettes framed by brass buttons.
Imagine the hands at our sides:
wrinkled, smooth, freckled, gloved—
scarred by cuts and burns, scrapes and time—
hands that held babies,
hands that held our heads when loneliness
felt too heavy to hold on our necks.
We bend into cold with something like pride
not for the battles we fought,
but because we’re still standing, walking, moving,
together, slapping our shoes on Woodward,
standing straight, even if not one soul watches.
For an engaging and informative read, I highly recommend John Carlisle’s columnaccompanying Mr. Seals photos.
It is a busy time at the Sultanahmet Mosque (Blue Mosque) in Istanbul. People gather outside its walls each night to break the fast with friends and family. Ramadan is soon coming to a close. Meanwhile, this man has a lot of square footage to cover. Back and forth he goes over the crimson carpets in the mosque with his household vacuum.
Photo and text graciously submitted by Peter Speiser
In the foreground, a cow. In the background, an ancient monastery in Armenia called Harichavank, not far from the closed and sometimes tense border with Turkey. The picture suggests the Armenian connection to the earth; tending animals to make cheese is not a lifestyle choice but rather a necessity.
Cows are knit into daily life, not hidden outside the village for sanitary reasons. The towering roofline in the background suggests the heavenward vision of the church and the beauty of the Armenian liturgy. The church too is knit into daily life. It is typical, for example, to light candles in the sanctuary as you stroll home. The cow and the church. One without the other just wouldn’t make sense in Armenia, both sacred in their way because both give life.
Text by Pete Speiser. Photo by Anna Rudberg Speiser.
Tea + Ink: The Empty Space Inside the Mountain
by Dorothée Royal-Hedinger, guest contributor
An intimate portrait of ex-Yugoslavian émigré artist Slobodan Dan Paich, Silent Crescendo follows his daily ritual of creating simple drawings with tea and ink. In response to the modern pace of the art scene, Slobodan has embraced these fluid works of art to express his searching approach to life.
Dorothée Royal-Hedinger is a producer at the Global Oneness Project, which produces and distributes films, media, and educational materials that challenge people to rethink their relationship to the world and connect them to our greater human potential. She lives in San Rafael, California.
In The Sixth Month (A Poem About Pregnancy and Motherhood)
by Sarah McKinstry-Brown, guest contributor
Your inner ear has fully formed.
You can hear now. I’ve heard
of mothers playing their unborn babies
Bach and Mozart because classical music
makes the brain’s spatial connections
arc towards one another like the fingertips
of Adam and God in the Sistine.
I’ve played no such music for you, and maybe,
some day, when the boy you pine for
is majoring in architecture
or when your brain goes cloudy
as you stare at your pop quiz in geometry,
you’ll hold this against me.
Truth is, I can’t bear headphones on my stomach,
won’t force you to sit in the front row seat
of your mother, the auditorium,
while Pachelbel’s Canon fires off the synapses
of your brain. For the same reason I can’t bring myself
to have your father recite French
or fractions into my belly.
No sonata or tongue or equation
could teach us what we’re learning already:
that to be human is to be heavy,
to carry more than one heart inside you.
Sarah McKinstry-Brown is a poet and performer living in Omaha, Nebraska. She is the winner of the 2011 Nebraska Book Award for Poetry for her debut collection, Cradling Monsoons, and her poems are featured in The Spoken Word Revolution Redux. You can read more of her poetry on her website and her thoughts at Cradling Monsoons.
We welcome your original reflections, essays, videos, or news items for possible publication on the On Being Blog. Submit your entry through ourFirst Person Outreach page.
Nurture Wherever It Is Cold, Nurture Wherever It Is Dark
by Preeti Kaur, guest contributor
In the Sikh faith, the role of the nurturer is one, among many, of the celebrated roles of all Sikhs, regardless of gender. My own father often reminisces to me of how his mother would nurture his growth and curiosity by imparting Sikh teachings to him while he was growing up in Dharamsala, India as a post-Partition refugee family. Everyday when he returned from school, his mother recited the Janam Saakhis, a collection of “birth stories” based on the life and lessons of the first Sikh guru, Nanak Dev Ji. He remembers this nurturing time as his favorite time of the day.
I recently saw a video of Harneel Singh, an extraordinarily eloquent young American man, describing his painful experience growing up as a Sikh boy wearing a patka (a Sikh mini-turban) in school, where he was often taunted and bullied. He speaks very freely that his experience is something familiar to many young people.
The patka is worn by children in preparation for wearing a full turban as a grown Sikh. Many young Sikh boys wear patkas throughout the world, including in America, where Sikhs have lived for over one hundred years. As adults, many Sikh men (and some Sikh women) wear a full turban, or dastaar, as a display of their commitment to accepting their body as it has grown and to distinguish themselves as physically committed to a path of justice. The global political climate of recent years, where turbans are inaccurately portrayed as the garb of global terror, has increased suspicion and violence against turban-wearing Sikhs especially in the form of hate crimes, down to the youngest members of our society in the form of school bullying.
Harneel Singh shares the tender points of his story because he has been nurtured to a point of strength — perhaps through his mother or father, or perhaps through his friends, or the adults in his life, or perhaps even by nurturing his own self, giving birth to a reflective young man.
The following poem, written for the young men who wear turbans in my life, is to honor all steps in the process of nurturing. This includes the process of negative experiences entering our lives — where it is cold, where it is dark — which provide us an opportunity to nurture others and ourselves.
where ever it is dark
after school i tell my mummy
i don’t want to go back tomorrow
she asks me why
i tell her today in the playground
kids push me punch me kick me
shout POTATO HEAD! RAG HEAD! ALLADIN! OSAMA BIN LADIN!
everything i am not
i throw fists back call them ugly
things too i imagine the bullies
as yellow toothed neon green eyed gorillas
like the ones in my closet at night
my cheeks burn my heart thumps
i am MAD i didn’t start this! i am just one
no one listens when i yell STOP IT! LEAVE ME ALONE!
i want to hide in a tent made of my sky blue bed sheets
i wish for a galactic force field
but no hands shield my head
when the bullies rip my
patka off my head
there is no superman
on this playground not even pretend
not sammy who i swing with
everyday on the monkey-bars
or alberto who swaps strawberry jelly sandwiches
with me in the cafeteria
not jenny who i tell knock-knock jokes with on the bus
not even the adults who patrol the playground
with whistles and detention slips to the principal’s office
so everyone might follow the rules
after bloody noses bruises scratches
after we are trees pulled out of the ground
a pile of mud surrounding us
our teacher mrs. jones sits us down
why did you punch back she asks
the teacher pulls me out of the ground some more
inside i am not a tree
inside i am a match
like the ones my daddy warns me not to play with
an orange blue fire on a stick of arms and legs
which grows short in two seconds
burning my insides too fast
i go home and cry and cry
i tell my mummy everything
mummy wraps her arms around my shoulders tells
me she loves me with her eyes
she unwraps my joora lets loose
my long hair runs her fingers through
mummy whispers your hair
is the night sky your hair
is the universe she combs
my kes with a kanga
twists my hair firm on top of my head
a galaxy you carry high mummy says
she takes the square patka
angles the cloth like a diamond
sets the patka on my scalp
ties it tight
mummy tells me this patka crowns you
one day you will wear a turban
cloth as long as the seven oceans
the full span of the earth
will rest on your head
be brave young prince
like Sahibzaadas Zorawar Singh Fateh Singh
when bullies big as kings
threaten them for carrying the universe on their heads
when bullies locked them
three nights in the cold in the dark
they raised their chins high no tears
they turned their fists to hearts
practiced the ways of the lion prince
with questions and conversation
my cheeks i kiss her back
i tell her i will go back
to school tomorrow i will be
a shooting star prince
bright and brave
where ever it is cold
where ever it is dark
This Mother’s Day, I celebrate my own mother and I celebrate the nurturing spirit which we can each inculcate by sharing the stories of our lives, our own janam sakhis, our own birth stories.
Preeti Kaur is an American of the Sikh faith living in San Joaquin Valley, California. You can read more of her poetry at The World I Stitch.
We welcome your original reflections, essays, videos, or news items for possible publication on the On Being Blog. Submit your entry through our First Person Outreach page.
Jason Russell and Joseph Kony Can Teach Us How to Love One Another on the Internet
by Chris Miller, guest contributor
As a social media nerd and a nonprofit worker with a heart for Africa, the past month has been fascinating. In that time we have witnessed the rise of the “KONY 2012” campaign and the fall of the mastermind behind it, Jason Russell.
On March 5th, an organization named Invisible Children launched an online movement to make Joseph Kony, a Ugandan war criminal and rebel leader known for his use of child soldiers, famous. The goal was to bring so much attention to him that governments would work together to bring about his arrest. Invisible Children produced a sleek thirty-minute video presenting this idea. The video went viral, racking up more than 86 million views.
However, not everyone thought the video was a good idea. (Myself included.) The Internet had a bipolar reaction. Many supported the campaign, posting links on Facebook and Twitter. Many others criticized the movement and the organization behind it.
The video featured Jason Russell, a co-founder of Invisible Children. Because of this, he came under personal attack. Sadly, the burden of this criticism was too much to bear. Suffering from ”exhaustion, dehydration, and malnutrition,” he had a nervous breakdown. Ten days later, he was detained outside of his home, where he was found nude, pounding his fists into the pavement and yelling profanities at the devil.
The Internet was quick to respond. He was mocked in every possible way. In fact, many of the top tweets were so offensive I do not feel comfortable sharing them here. To make it even worse, TMZ.com obtained a thirty-second video of his breakdown and posted it on their website. It went viral.
A Reprieve from Myself: What’s Revealed in a View
by Sarah J. Hart, guest contributor
My last two years in Brooklyn I felt fortunate to have the view I did. My windows faced east, and, although the blank wall of another building loomed large directly in front, to the right grew a luscious tree and above was an unobstructed view of sky. I often woke at dawn and would stand on the fire escape and soak in the morning, while it still felt clear and clean.
Over the five years I lived in “the city” I learned to train my eyes away from a lot of what was around me: trash exploded from vandalized garbage bags; the grey on brown on dingy grey of sidewalk, street, and dirty buildings; tawdry advertisements; glaring lights. Instead I’d glue my gaze on any scrap of nature available: a leaf splattered on the curb; weeds flourishing in an empty lot; wheeling pigeons, making the sky sparkle with their sunlit wings. By the end of my five years in NYC I felt I struggled endlessly to find enough beauty that I might endure the ugly. “This is absurd,” I thought. “Clearly the city is the wrong environment for me.”
In January of this year I had the opportunity to move out and, with great relief, I did.
Now I live in the woods. There are no other houses in sight. I am on 40 acres, embraced in a bear hug of state land. When I look out my window, I see only beauty: layers of hemlock, bright clusters of beech leaves, spindly maples with slender branches that shatter the sky.
Whether it’s a sun-soaked day that impels me to shut my computer and go out for a walk (or at least to do something useful, like fill the wood box) or an overcast one with a moody sky and pinches of sleet, I see that there is always a perfect harmony in the colors and textures around me. In the woods I am humbled — in that way that’s also elating — with the reminder of all the living and dying and churning forth of ephemeral beauty that is happening around me all the time, whether I am paying attention or not.
Living in such an environment induces a certain shrinking down to size, and a correlating peace with one’s place in this world. Red squirrels and red maples do not seem to fret over the “good enough-ness” of their lives, and it starts to feel a bit out of line to do so myself. I see their perfection — the kind that is inherent rather than measurable — and find it easier to see that same quality in myself as well, ongoing toils notwithstanding.
But of course, I could have felt this in the city. Strictly speaking, the city is no less a natural environment than the one up here. It too evolved from the tumble of cause and effect of living things trying to survive. It is certainly no less vibrant an ecosystem. True, in an urban landscape the parameters of opportunity and constraint are mostly man-made, but they yield an abundance of variety equivalent to that in a woodland environment. There’s differentiation, specialization, and the endless burgeoning of micro-complexity within the larger landscape.
Indeed, there was a time when the city inspired in me similar feelings as the woods do now. I moved there at a time in my life of greedy growth, too hungry for the tidy flower box of a town I lived in. New York City had the appeal of wilderness — an expanse of unknown, potential, and gritty reality.
To love the city is to feel a great compassion for the swarms of other people around you. All those lives, all that urgent self preservation, the palpable vulnerability and ferocity. The beauty of it can break your heart.
“A man never discloses his own character so clearly as when he describes that of another,” an insightful person is said to have said. This observation is true. And it also applies to our descriptions of the world around us. What we see in the landscape outside the window is, truly, a window onto the landscape inside.
New York City lost its beauty not because it changed (if anything it has become thrillingly greener in the years since I moved there, what with the urban agriculture movement, the roof top farms, and so on) but because I lost my ability to see it. My dissatisfaction with the city increased in direct correlation with my dissatisfaction with my life and dissatisfaction with myself for failing to improve that life. The fewer hopes and ambitions I managed to fulfill, the fewer opportunities the city seemed to provide for peace, contentment, and happiness. I condemned it as a place of harsh judgment and didn’t notice that I was the harshest judge.
I moved to the woods to gain a reprieve from the city, but what I really gained is a reprieve from myself. Of course, the change of view outside my window is very real, and one I appreciate intensely, but I know the significant change is actually in my point of view. Bickering at the corner deli used to make me groan, but squabbles of the same order at the birdfeeder make me giggle. I wince at lurid colors in plastic, but delight in the same hues when discovered in lichen. Although I’m a bit of an oddity in the small town I now call home, I feel thoroughly comfortable, as I never managed to feel when in the midst of thousands of peers.
I know there have been times in my life when I could not have appreciated this environment as I do now. And who knows, perhaps I’ll be ill content again someday. But I hope I do not forget that beauty is not a quality to seek, only to see.
Sarah Jean Heart is a writer, editor, and reporter living in Boonville, New York. You can read more of her writing and view more of her photography at The Perspective Project.
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