Armarolla Issue One is Out–based in Cyprus and Prague

And I’m glad to be included! This is part of a long sequence written last summer about the solar eclipse.

astronomers call the eclipse
a cosmic coincidence
how our satellite
can blot out the star of our sun

I’ve held my thumb up
to cover many things
I didn’t want
to see

is it coincidence
I hold you in my arms
in this bed
held you long ago
and always will?

http://armarolla.com/one/

A Visit to a Las Vegas Temple Dedicated to Beauty & Commerce by Richard Feldman

In the middle of a multi-day February visit to my father, I was searching the Web for new and interesting things to do in greater Las Vegas on the upcoming road trip that I was planning with Miriam when I happened across a description on Atlas Obscura of a free-to-visit James Turrell light installation atop a Louis Vuitton store entitled Akhob (supposedly an ancient Egyptian word meaning “pure water”).  Although Turrell’s works of light have been featured in a number of exhibitions around the country in recent years, I’ve been most familiar with him as one of several artists who have devoted decades out of their lives to the creation and refinement of giant land-based projects paying homage to nature and science in the American West, while innumerable announced completion dates have come and gone.  Turrell’s project has involved the reconstruction of Roden Crater, the remnants of a northern Arizona volcano.  While the Roden Crater project, like other examples of this particular art form, never seems to be able to be finished, it has been possible to visit at times by those who’ve provided substantial financial support.

I mentioned Akhob to Miriam, who was enthusiastic.  According to the Atlas Obscura article, the lead time for tour reservations was at least three weeks, which meant that the first available tour slot would likely be several days after we planned to leave Vegas.  I decided to give it a shot anyway.  Notwithstanding a poor phone connection, I ended my call to the reservation number at Louis Vuitton having arranged places for us on a tour at 1:30 PM on our last partial day in Vegas.  The scheduling wasn’t quite perfect, but the opportunity seemed worth the inconvenience.

Our tour was scheduled for a Thursday, we were arriving in Vegas on a Monday, and the installation was closed on Tuesday and Wednesday, so my vague hope of someone else’s cancellation allowing me to reschedule for an earlier tour was unlikely from the start.  However, my reconnaissance visit to the high-end shopping area where the Louis Vuitton store was located (an extension of the Aria Resort and Casino confusingly referred to both as CityCenter and the Shops at Crystals) revealed the existence of additional Turrell light installations in the rooms adjacent to the tram station at the very top of the shopping area.  Miriam was pleased.  Although it seemed unlikely that she would be allowed to take pictures within Akhob, there would be some of Turrell’s work that she could photograph.

Thursday arrived.  We checked out of our lodgings, ate lunch, and parked at the neighboring Cosmopolitan.  We made our way again to CityCenter/the Shops at Crystals, where Miriam photographed other artwork, including the tram station Turrell installation.  We weren’t sure how much in advance we needed to arrive at Louis Vuitton for our tour, so we arrived what turned out to be needlessly early.  After we announced our purpose and were directed to the tour meeting place, we had plenty of time to sit and observe the few people shopping, who I thought looked surprisingly normal given that Miriam had told me that everything in the store cost thousands of dollars.

A few minutes past the scheduled time, our tour guide appeared and introduced herself to us and the other three people on the tour.  We would not be taken directly to our destination, but instead spent the next fifteen or twenty minutes hearing the history of Louis Vuitton and its commitment to art and being shown various items in the store to illustrate the history.  I didn’t think there was a whole lot of point in the store’s proselytizing us, but went along gamely.  Finally, we proceeded to the elevator and pressed the otherwise unlabeled “3” button.

When the elevator door opened at the third floor, our tour guide handed us over to two other female employees who would be our chaperones in the actual installation. Whereas the dark-haired guide had been dressed in black, the chaperones had on nearly identical white outfits of tops, jeans, and sneakers.  With the strong aura of reverence and ritual, it was as if I was visiting a shrine or temple, and our guides were priestesses.

The priestesses ushered us into the next anteroom for us to exchange our shoes for white booties and to read and sign multi-page liability waivers.  I scanned mine in a perfunctory manner in preparation for initialing and signing it, but as Miriam read hers, she became increasingly alarmed by its litany of potential mishaps.  In a moment, she decided to decline the experience and instead wait for me back in the store.

Having returned my waiver form, I climbed the flight of nine steep, curved, black stairs and joined the two priestesses and the three other visitors in the first of two cylindrical chambers.  The colored light suffusing the installation was beautiful but somewhat disorienting.  We were warned about the easily overlooked step between the two chambers, not to mention the six-foot drop off at the end of the second.  Like another unearthly light experience, last year’s solar eclipse, the experience was over too soon, after perhaps 15 minutes, much of which I spent either asking questions (how many light sources were there, where were they located, did the cycle of changing colors repeat and, if so, how long was the complete cycle?) of one of the priestesses or bonding with the blond-haired woman who worked at the Palo Alto gallery representing Turrell.  She had had the opportunity to visit Roden Crater four times, accompanying important clients.  She in turn seemed impressed that I had at one time worked for Lannan Foundation and invited me to stop by the gallery the next time I was in Palo Alto.

Perhaps I should have been talking less and concentrating more on experiencing being suffused by the light, but the allotted time would still have been nowhere near sufficient (I did have the thought that certain mind-altering substances would likely have enhanced the experience).  As we were guided out of the installation, re-exchanged our booties and shoes, and came back down to the first floor in the elevator, the ritualized overtones of the whole event continued to resonate.  I found myself grappling with questions similar to those prompted by my visit years ago to Walter De Maria’s Lightning Field—how much is the interaction undermined by the implied elitism?  Is there any way of making it more accessible while simultaneously respecting the aesthetic vision and economic considerations of the artist and/or gatekeepers?  I appreciate that both natural and human-created beauty offer an opportunity for non-religious (and religious) people to have an experience of the divine, but the implicit or explicit bundling of the experience of beauty with conspicuous consumption spending adds an unpleasant aura to the occasion for me.

When we had arrived at the Grand Canyon earlier in our trip, I was immediately struck by and commented about how I felt yanked out of my sense of selfness by its magnitude.  Both spirituality and art aspire to yanking people out of their senses of selfness.  I suppose that my pickiness about how I engage with spirituality is analogous to my pickiness about how I do it with art.  I was grateful to have had the chance to visit and be immersed in the temple of Akhob, but regretful of the extent to which our society has evolved in ways that require paying homage, if not actual money, to multiple intermediaries for access to great art and its transformative potential.

Photographs from Atlas Obscura.

Hello From Spring

It’s been a very mixed day. Last night hail arrived raucuously like a convocation of unwanted door to door salesmen. Today the clouds of apricot and peach blossoms seem untouched. Studying some torah, I just felt very sad about part of the story of our foremothers, who were essentially bought and sold. But what woman on earth can claim her ancestresses were free people?
I had lunch yesterday with two Zen Buddhist priests–women teachers. I felt a bit better about the world, because they were old friends who had found their path. There is little I enjoy more than a certain kind of intimate conversation–about what happened to everyone, who died, who lived, who failed, who triumphed. It gives me a pure and abiding sense of connection to the world. Call it gossip if you like–it is gospel to me.
My daughter Isabel and I went to Tune-Up. I ate chile rellenos. For many years I felt I had to skip them because I didn’t want to agitate my gallstones. I haven’t had an attack in almost thirty years, and I’ll eat that fried pepper now (knock wood). We worked on our renga–linked Japanese poem. We started this one very traditionally, by translating a haiku by Basho. That way neither of us had to start–the great Basho started for us.

First cherry blossom
This very moment
A good day
-Basho translation 

I’m cooking brisket for tomorrow night’s seder. My mother did not really cook, nor did her mother. So I have no traditional recipe. I use a variation of what poet Joan Logghe taught me. I’m feeling sad about several things–mostly squabbles and situations that don’t directly involve me, but impact me nonetheless. I’m very happy about other things–including that I’m re-reading Trollop and loving it. I also have a beautiful rosemary plant that came through the winter very nicely in my sunniest room.

The 22 Syllables That Can Get You Killed

This is one of the most remarkable things I have ever read about poetry–and its role in women’s lives. Thanks to Julia Deisler for sending it to me. Do read the entire thing, at–
http://www.bbc.com/culture/story/20161116-the-22-syllables-that-can-get-you-killed
By Eliza Griswold

16 November 2016

When sisters sit together, they’re always praising their brothers.
When brothers sit together, they’re selling their sisters to others.
– Anonymous

Several years ago, I had the immense privilege of travelling around Afghanistan with the filmmaker and photographer Seamus Murphy for a very unusual project we called investigative poetry.

In refugee camps and remote villages, at weddings and on at least one horse farm, we collected anonymous folk poems called landays. A landay is a couplet: a two-line poem passed mouth to mouth, ear to ear, among Pashtun people for at least 1,000 years.

No-one knows for certain where landays come from

No-one knows for certain where landays come from – the most popular theory is that these biting little poems began as a form of communication within the Indo-Aryan caravans that arrived in the region millennia ago. They were born long before Islam, and their closest cousins are the slokas, the two-line verses that comprise the ancient Hindu holy texts called the Vedas.

This image shows an Afghan woman at a checkpoint in Helmand province: landays have been passed mouth to mouth among Pashtun people for at least 1,000 years.
A landay has very few rules. It must have 22 syllables, with nine in the first line and 13 in the second. It must end in the sound ‘ma’ or ‘na’. It must take on one of five subjects: meena, love; jang, war; watan, homeland; biltoon, separation; and, finally, gham, which means despair or grief. But gham doesn’t mean grief in general, it speaks to the particular form of grief that belongs to a Pashtun woman.

It was this grief, this gham, that brought us to this project.

It was the story of a girl who killed herself because her family wouldn’t allow her to write poems that first provided us a window into the complex world of women and poetry in contemporary Afghanistan.

Forbidden love

Rahila Muska, which means ‘love smile’ in Pashto and which was her pseudonym, wrote poetry as a teenager in secret in her rural town of Gereshk in the war-riven province of Helmand.

For women and girls in Afghanistan, poetry is often associated with singing and dancing, and sometimes with prostitution. One of the landays I collected in my 2015 book I am the Beggar of the World refers to the idea in Pashtun society of the riverbank, or godar – where women gather water – as a place of romance. Forbidden from going to the godar, men nevertheless sneak glances at the women they love as they walk to and from the riverbank.

Daughter, in America the river isn’t wet.
Young girls learn to fill their jugs on the internet.

Packing Heat

A few years ago I was in the bathroom at Santa Fe Community College, where I was in the English Department. I was making a rather awkward adjustment to my pedometer that was hanging inelegantly off the elastic of my undies.
“What are you doing?” a student embarrassingly asked me.
“It’s my pedometer,” I said, about to extol the virtues of exercise.
“Oh,” she said. “I thought you were packing heat.”

***

Was this funny or sad? I don’t know. But today, in support of the marches against gun violence, it seems sharable.

Red Rock Canyon

A journey has a quality of lingering after its end. These are from the Vegas portion of last week’s sojourn. I got sick at the end of the trip and my realities kind of collided–came off the road in the harsh spring wind and went to bed. Then started poking about and complaining–a kind of convalescence. I feel sad about not really being able to absorb the trip on my return because of this. Still hope to.