By Catherine DiMercurio
When I was at the pottery studio recently, we were waiting for the raku kiln to reach its final temperature of 1850 degrees Fahrenheit. We worked while we waited. I attached handles to mugs I’d thrown the previous day. I will mention here the details that occur to me as mattering. I worked with reclaimed clay. Scraps once discarded and brought back to new life with water and time and reshaping. I practiced different techniques for crafting the handles, all of which I find difficult, none of which resulted in the graceful form that I’d hoped for, all of which will be fired and glazed and useful and beautiful anyway.
The woman sitting at the table behind me was talking about how she did not like how the nights were getting cooler and that she could hear crickets now. As soon as you hear the crickets, she said, you know summer is coming to an end.
Had I been facing her or had I known her better, I might have started a cricket discussion with her. Is this true? I might have asked. I have cherished cricket song for as long as I can remember, and often lament the summers when it seems to start so late. I had just been thinking earlier that week of how nice it was to finally hear crickets at night. In my memory, crickets are associated with summer, all of it, not the end of it, but mind and memory tends to blur time and boundaries. Cricket song will always be one of my favorite sounds regardless of when in the summer it begins. But I’ve been thinking about what she said.
I thought about how, if this is true, about crickets being a harbinger of the end of summer, then in a way, they are like my favorite moon phase, the waning gibbous, which I’ve written about here before. It is something that to me symbolizes a period of calm in the aftermath of the large, chaotic wildness of the full moon. It also reminds me of the lines from one of my favorite poems, Wallace Stevens’s “Thirteen Ways of Looking at a Blackbird”:
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
There is so much I love about “just after” moments. Maybe for me, it is a way to prolong a moment, because in the moments after, if you are of a mind (and a heart) that is able to fully savor, it’s almost as though you are still living the actual moment.
Sometimes I wonder, though, if I have difficulty in fully living in the moment. Is the pleasure I take in the “just after” moments merely the counterpoint to the anxiety or anticipation that I often experience before the moment? And do both overshadow my experience within the moment itself? Maybe sometimes. Not always.
Take the raku firing for example. It was explained to all us students the timeliness of what would happen the instant the kiln was opened, how we must briskly but safely retrieve our pieces. Sometimes, based on the choreography of the kiln, we’d need to wait a moment until someone else removes their piece before we can safely access our own. Such was the case with my piece. And in that moment of waiting, I stared at the vase glowing in front of me. At that temperature, all the ceramics glowed like bright stars. My piece had some carving in it, vines and leaves. And because in those places the clay is thinner, they shone even brighter. And it felt like the image was burning itself into my memory. I wished I had been able to take a picture, but there is no time for such things. You have to move quickly and get your piece into a metal bucket filled with newspaper. The paper catches on fire. After it burns for several seconds, you put the lid on it. This is a reduction environment, with a limited amount of oxygen, and it is where the magic happens. The oxygen is consumed by the burning of the combustibles. This creates beautiful effects in the glaze.
Still, regardless of how much you make of a moment, or just after, or just before, they are all only moments. We might be able focus our consciousness during them to experience them more fully, but they last as long as they last.
When I think about how I want to live, I think about moments a lot, and how to make the most of them, whether they are blazingly beautiful and exhilarating or whether they are strikingly ordinary. I think too, of the moments we’d like to forget. Certainly there is a lot of talk about learning from difficult things, and how this is the method to discover value in mistakes and tragedy. Too often, too many of us get stuck there, in this search for meaning. I get overwhelmed by the need to understand the whys and hows of bad things. I replay them in my head from all the angles and look at what could have been done differently. And I do that because the world has suggested that this is a way of making them “okay” somehow, if I at least learned from them. But, what if I didn’t learn the right lessons? What if I didn’t learn enough? We are told we are doomed to repeat past mistakes unless we really and truly learn all the right lessons. But we are also told not to dwell on the past.
Because my brain has formed this habit of overanalyzing past pain, errors, and difficulties, I began to believe that if I failed to learn from the past—enough things, the right things—then I invited nothing but pain and tragedy in the future. But this is a miscomprehension, and one that can leave you frozen. It’s not that the past has nothing to teach us, but it is one class in a full schedule. It’s not the only way, or the only thing, we learn.
And one of the things I’ve learned is that it takes focus and endurance to shift our gaze from past lessons and look at other areas of experience. Sometimes we have to keep opening our hearts and looking at the world with a fresh eye. We focus, with all our strength, on the unfurling of fern fronds, and the way lake water baptizes our hearts into their new whole selves, and the way peace stretches roots within our lives when we invite it there every day, and on the star-glow of freshly fired clay. Maybe we must be clear about what we’ve won, not only what has slipped away as loss, and be just as clear-eyed about what we willingly trade every day, as in, I will accept the occasional storm of loneliness so that I can steep myself in calm for as long as I need to, for as long as it shows me how to grow, even though unfurling happens in increments so whisperingly minute it looks like standing still. But it isn’t.
I’d like to say that I find myself at an inflection point: tired of trying to learn everything I am supposed to from the past and ready to refocus my gaze. Yet, I’ve been inflecting. I’ve been at this, refocusing, shifting, turning, for many moments, but because it is so gradual, I sometimes forget that what looks like standing still from the outside can feel like standing still from the inside too. But it’s not. [And also, is there anything wrong with stillness? No.] Physical growth can be demarcated on a wall, a pencil line scratched into poplar molding glossed with white latex paint. I remember the smell of my children’s hair as I marked their height, the earthy sweetness of their sweat, the scent of the summer air clinging to each beautiful strand on their scalp. But how do we mark out our own growth as adults, out of the lattice work of our own pasts and into who we are now? There is no pencil for this, no wall, we simply keep going and wondering. We are unfurling, whether or not anyone can see it. When we think but I am trying so hard we must believe in the efforts we are making, whether or not our growth can be demarcated with pencils or moments or star-glow or nothing at all.
Love, Cath
Chronicles of the Open Hearted 