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The Crucified Bird

Redux: A Literary Journal: #59: “The Crucified Bird” by Patricia L. Meek
An invitation-only literary journal of writers’ favorite, previously published stories and poems, not found elsewhere on the web ~~ edited by novelist Leslie Pietrzyk ~~

©patricialmeek, 2012 The most enduring has been the gift of compassion and a deep understanding that all suffering is illusion of separation, including death itself. ” From Noah: a supernatural eco-thriller by Patricia L. Meek

“The Crucified Bird”

The Story Behind “The Crucified Bird.”

 

1986 was the last of an agriculture golden age for California as many small farms there and around the nation were in decline. The medfly was on the attack and there was increased spraying, the kind of chemical warfare that would one day trigger my grandmother’s Parkinson’s. Los Angeles wanted the water. Farmers were bitter with this battle. My grandfather, disgusted by the fled urbanites, complained they should all go back to the city if plow dust disturbed them. It was a changing eco-system, and my father recognized that.

My father, who built the Louisiana State University photo department, was on sabbatical. San Joaquin Valley in central California was his proposal, and we set off to capture a moment of time about to change forever. I was there to carry equipment and to gopher. No slight task as Dad worked with a large format camera, an 8 x 20 banquet camera, film holders as large as TV trays. Digital was in its infancy, and I was writing college papers on one of the first Macs as boxy as a microwave. My father had no idea that twentieth century photography was a dying craft shrouded in silver-gelatin. Great photographs were pure know-how and darkroom magic, but they were in decline as was the changing landscape we were documenting. My job was also to drive, pay attention, pour water, hand over driving snacks, and provide moral support. Trapped in a car with my Dad, I became a listener—a skill I still use in my current life as a therapist.

Our base camp was Lindsay, California, were we stayed with my grandparents on their small “retirement” grove they’d named Last Chance Ranch. It was an abundant life, filled with the literal fruits of ones’ labor. The kitchen table was laden with sun-ripened grapes and the bloodiest tomatoes I’d ever seen. The electric juicer was a whir every morning. Grandma picked low hanging fruit from the nearest tree. Almonds and chocolates stashed in every candy jar. My grandparents, who had grown through the depression, had the mentality: I’ll never go hungry again, and thought no one else visiting their home should either.

By eight o’clock, the car was packed, the breakfast dishes were rinsed, and we were on our adventure, headed up to Camp Nelson where the Sequoias trees grew to the size of Redwoods, and locals still found pleasure in jumping off rock cliffs into deep pools of mountain water. A lot of work went into my father’s craft, and he carried with him a many concerns. What he looked for was in the language of light, but light was always fickle and to set up a photograph took time. There were other worries as well: heat, snakes, the sudden farm truck barreling past on the narrow road with no shoulder. The psychological concerns, however, were even heavier to bear. He carried the stigma that the art world did not care about any “back woods southern professor,” and felt the pain of that obscurity. At that time, he was fond of the saying, no honor for a prophet in his own country. In my own lifetime, I’ve only seen this disparity become more divided as coveted New York shows are held for the children of wealthy patrons. Art programs have been cut from secondary education, not to mention anything labeled “liberal” arts is non-meritorious in the activity of making money. The academic jobs that supported my father have disappeared. Ask any adjunct professor (I myself was one for many years), who are the white-collar migrant workers?  Professionals of all ilks have been marginalized. Human resources, natural resources—all gobbled up to feed the American way—manifest destiny to the brink of destruction. In 1986, we knew things were changing, we just didn’t know how soon nor how dramatic.

I first saw the bird left to rot on the barbed wire. It was carrion, a death eater. Still, no way to leave one of God’s creatures. I was disgusted, but that bird became a symbol, perhaps a portent of these things to come. The Crucified Bird was a way to describe the sacrifice of the natural world, the end of a way of life. We are all dying. All moving towards God. My grandparents are dead. The family farm is long gone, acres of olive tress plowed up. The water is going to Los Angeles. Parkinson’s is showing up in younger people, thirties and forties. My father is retired, taking naps in his chair. He’s dealing with the battle of a lifetime, a deteriorating body that will one day lead to his death. I work with the disfranchised, the desperate, and the broken. I hear the stories of lives sacrificed. All the while more mental health programs have been dismantled, and the cries of the people lift their voices. Why?

We learn to live—like all life—on the edge. To find our way to forgiveness for what is. The Crucified Bird has long been buried under the drought-dried grasses of California’s richest agricultural valley. In one-way or another, we are all crucified birds.

 

© Patricia L. Meek

Author of Noah: a supernatural eco-thriller.

“The Crucified Bird” will be reprinted in an upcoming issue of Redux: A Lliterary Journal. 

The Crucified Bird,” Puerto del Sol, Volume 29, Number 2, New Mexico State University, Summer 1994.

AWP Intro 1993 for Fiction. National Competition for the Introduction of Emerging Writers in Fiction and Poetry. Ivan Gold, Judge

Cloud Healing


In sacred art, which is not limited to iconology, there is an invitation into a deeper healing by entering light, space, and form. Finding the sacred is collaborative process between imagery and viewer.  By allowing art to open the psyche, there is a transcendent meeting point between creativity and universal oneness. Offered as a meditation, sacred images are a transmission of divine love. By incorporating these visual meditations into a daily practice, the viewer is better able to settle the mind to begin an inner journey into self-awareness.  It’s only in the contemplative practice that one is able to find a means to transmute suffering into joy, and thus scared art has the capacity for profound healing.

Art is powerful because the imagery carries with it a higher frequency, not only in the colors, light, and form (form bound by sacred geometry, which mirrors the architectural universal principles), but also in the creative process itself. If open, the viewer is able receive the intended benefits of the creative process. It is the intention(s) of the artist that can transmit the seeds of transformation.

For hundreds of years, cloud imagery has been a powerful captivation for writers, painters, and more relatively recent, photographers. There is a rich photographic tradition from Edward Weston who photographed clouds in Mexico in the 1920’s, to Alfred Stieglitz in his 1930’s series called, “Equivalents”, and to Ansel Adams in the great western landscape of the 1950’s.  These masterworks captured a single glorious moment of time.  Contemporary photographers all across the world continue to work as subject the sublime nature of clouds

Clouds provide a transcendent purity because they are both secular and sacred, not bound by human constructs.  They are timeless, beyond mind, beyond religion.  Clouds are the reminder that change is constant.  When one takes the time to be in relationship with clouds, they teach us how to flow by not being attached to form.  All shapes have a possible meaning and the possible meanings are infinite.  By allowing ourselves to let go and relax, we return to our true nature, a state of bliss being.  This is our Christ nature, our Bodhisattva, our Sat Nam.  It is our immutable, timeless selves, our universal nature.  Ironically, it is the immutable part of self that is able to transcend circumstance.  When we get out of our cognitive constructs, losing ourselves so-to-speak, it makes room for the divine instant to rush in and fill our deeper psyche.  It is in that moment that we are filled, able to receive unlimited joy.  It is in that divine instant that we too become as timeless and as vast as the sky and as varied moment to moment as the clouds.  We are whole.

Clouds help us return to that joy of knowing our inner self, and it is that joy that has the power to heal.  Who of us does not recall the instant pleasure of being in one of nature’s vast and varied rooms, starring out into the infinite sky, thankfully losing ourselves into mindlessness.  Some of us may have been told to stop daydreaming, to “get your head out of the clouds.”  For a while, we learn to believe that we are better off to be outside of our illumined daydream.  We essentially become separated into the struggles of productivity.  Then some of us forget how assessable is our healing.  We forget who we really are.  Who we really are is met time and time again in the sacredness of the divine instant, in that space of timelessness.  For the love of clouds, it is the cloud that knows that best.

Patricia L. MeekImageWandered. patricialmeek@2011.

Quote

I wandered lonely as a cl…

I wandered lonely as a cloud
That floats on high o’ver vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze
William Wordsworth, 1804.

Edward Weston. One of the greats! Great blog here. Hope you enjoy!

trace blog

Artist Feature, vol. 6

EW1

 

Though Weston is mostly known for his still lifes of inanimate objects such as peppers and cabbage leaves, his landscapes explored the same subject of form that guided most of his work. Here, in Clouds, Trees, Water Weston captured the flora and scenery at Point Lobos,CA and the desert landscape of Oceano,CA.

If you look closely through his images you’ll note why Edward was a part of the f/64 group (which included legendary landscape photographer Ansel Adams). His images often employed the use of deep depth of field allowing for all planes of the images to be crisp and in focus (achieved through closing the aperture to f-stop 64). As in his still lifes, curves, cracks and shadows seem to bring the objects to life as Weston’s compositions create movement, contrast, and texture.

Perhaps intentionally, or not, you can start to see traces of human…

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