Keeping Time

Dear Friends,

The farming season is officially over! Whew! I haven’t written a blog for months. Not because I didn’t have time, but because the swirling activity was all geared towards outside, external, farm business, and necessary haste. I’ve written newsletters for Old Frog Pond Farm, but they promote the farm and encourage visitors. For blog writing, I like to travel on back roads, interior paths, to keep my finger on the pause button, to listen for thoughts that arrive in quiet moments and wend my way. A little like how I sometimes begin a sculpture. This morning I stayed in bed with my eyes closed and let the dreaming continue until seven! Instead of the darkness I was greeted with this view.

Sunrise Colors in the Pond

 I share this poem by the great 13th century Chinese Zen Master Wumen, the compiler of The Gateless Gate koan collection.

Ten thousand flowers in spring, the moon in autumn,
a cool breeze in summer, snow in winter.
If your mind isn’t clouded by unnecessary things,
this is the best season of your life.

The great Zen master, Dogen Zenji, a 14th century philosopher, linguist, and poet, wrote in the fascicle, Uji, “The Time-Being.”

Since there is nothing but just this moment, the time-being is all the time there is. . . . Each moment is all being, is the entire world. Reflect now whether any being or any world is left out of the present moment.

 Translated by Dan Welch and Kazuaki Tanahashi from The Moon in a Dewdrop, writings of Zen Master Dogen

Dogen’s Uji text is only a few pages long, but he completely twists and turns and challenges our view of time. As a teacher he wants us to realize the wonder and completeness of each moment and not be caught by the conventional view of time as a continuum. These and other writings about time are inspiring a new sculpture, The Keepers of Time, though the title is always provisional until it is complete.

It begins with a wheel, one of two old cart wheels leaning against the chicken coop. This wheel has eighteen spokes, six more than hours on a clock. The Timekeepers are women who will inhabit the wheel. I envision them placing the numerals for the clock in position around the perimeter of the wheel.

I'm not sure if the Timekeepers recognize that time is not an abstraction, but something they are creating. Do they know there is no time apart from their creating time? How will they each play with their hours, days, and weeks ahead?

How do I have more time to read and write? This thought arrived in my mind this morning? I held it as if it was lightly filled with helium. It had form. But as I stayed with my attention on this thought, it squirmed away. For a moment I couldn’t find it. Then as if it could slither like a ghost under a door, it appeared again. It wasn’t a shape any longer. It was detaching, losing meaning.

In mid-November I gave a Dharma talk, Time Present, at Zen Mountain Monastery. Writing this talk is what started me on this investigation of Time. If you’d like to listen click here.                                             

Another new project is Two Chairs—Conversations with my friend, Lyedie Geer. Posted on the farm’s youtube channel are the first two videos of this new collaboration. In the winter of 2022, inspired by a purple velvet chair I inherited from my mother, and Lyedie’s blue chair, we decided to get together for conversation. We didn’t know where or what we were doing, but it was a treat to be together in person and talk as the pandemic was losing its grip First, I went to Putney, Vermont, with my mother’s chair in tow, then Lyedie traveled down to the farm and we sat in two chairs outside my studio near the pond.

In the first Two Chairs—Conversations, we explore Pruning—daring to make those difficult cuts—in the orchard and in one’s own life. In the second, Splash, we dig into the creative process as we talk about one of my new sculptures. We’re grateful to be working with David Shapiro, who also made our farm’s video.

Finally, I want to let you know Lyedie is an amazing coach of creative women. Until December 21st, she is accepting applications for the Bluebird award! I suggest if you have any desire to be encouraged and inspired in your creative life, click here to learn about the three-month pro-bono coaching program she is offering.

That’s it for now!

With love, Linda

The Year of the Frog: What Orchardists Do While Apple Trees are Chilling

I’m working in the studio on a sculpture of a frog. I talk to it while I sculpt it. I ask questions. I stroke it and I pat it. You might say I have fallen in love with this frog—though I’m not intending to kiss it, and definitely not desiring to meet a prince. This is not a frog of fairytales, but the frog who is the subject of a haiku by Matsuo Basho, Japan’s most influential 17th century haiku master.

Haiku was originally a seventeen-syllable introductory verse to a longer series of linked poems. Then in the middle of the 15th century, people began to write these short poems as a separate form. They sent them to each other, shared them. They were often playful. Basho, a maverick, was keen to use this form of poetry to express something more serious. For almost all of his life he explored the writing of haiku. Haiku became an evocation of an experience, of a moment. As an art form, it aligned with the development of Zen Buddhism in Japan, and became an instantaneous presentation of the whole without intellectual commentary.

How much could be expressed in few words? How to express an emotion like loneliness without using the word?

In 2001, when I first visited this rundown farm with its old apple orchard, I was awed by its large pond. Years earlier I had lived in Japan and been influenced by the Zen poets and traditional Japanese arts. This pond reminded me of one of Basho’s haiku and I named the farm Old Frog Pond. There are at least a hundred translations of the poem—some quite strange—but literarily it is:

Furu ike ya/ old pond (‘ya’ is a word of emphasis but without specific meaning)
Kawazu tobikomu/ frog jumps
Mizu no oto/water’s sound

In a traditional haiku, the first line often sets the scene. In this poem, we are introduced to the view of the old pond. This ageless pond might make us think about the beauty of the moon’s reflection in water, or how an old willow’s branches coax ripples on its surface. The pond may hold in its depth old carp, ancient beings.

In the second line, our gaze narrows as we see a frog. In traditional haiku writing, “Frog” was considered a season word to indicate spring. In Basho’s poem this little frog appears, a small creature, perhaps just coming out of the mud on an early spring day. Our mind holds the fragility of the frog within the expansive pond. We hold the singular among the universal.

Then, all of sudden, we are woken from our musings with a ‘splash’—the sound caused by the frog’s jump breaking the surface of the water.

Suddenly, everything disappears—our thoughts about this old pond, about the frog, the season, the setting. Only the sound exists. We are no longer thinking or making up a story. No frog and princess here. For a moment we even forget ourselves—just splash!

What does it take to be absorbed in the moment? Why is this significant?

How do we absorb ourselves in an experience? How do we have an experience?

Who is this ‘we’ that experiences?

Basho trained for several years as a Zen monk. He continued to wear the robes of a monk as his daily garb. His writing of haiku was the practice of a Zen art. His language was always simple yet conveyed the complexity of our heart/mind. In Japanese the character for kokoro, carries the meaning of ‘heart’ and ‘mind’, unlike in English where these two words are distinct.

Working on sculpture is different from writing. I form the muscles of the leg with melted wax. I press and shape the thick and sinuous body parts. I carve into hard wax the lines of the nail ridges on its webbed feet. Wax sticks to my finger tips and palms, and hardened wax packs behind my nails. When I work on the frog, I touch only frog. When I gaze at the frog, I see only frog. This frog does not jump. It is sitting. Contemplative you might say. Prayerful even. There is no splash.

A concrete pillar stands in the water between the lower pond and the small stone bridge before the pond water flows into the vast Delaney wetlands. It’s been calling for a sculpture since I moved here. Once this frog is cast into bronze, it will live on the post and gaze east towards the rising sun. Its feet will dangle and tease the water.

While working on the sculpture, I wondered if the frog should be carrying anything on its back or holding anything in its hands. But the frog was adamant. I’m just a frog. I’m a frog that is completely myself. Not going anywhere, not doing anything. Maybe that’s why I love it. Maybe that’s what love is—not needing something or someone or ourselves to be any more than just what and who we are. Not needing to do anything, only experiencing this moment fully.

            Next spring I hope you will come to see this Frog in its new home.
May we all find the stillness and wakefulness of Basho’s Frog in the New Year!

Juggling Flowers, Fruit, and Vegetables

The Garden: photo Robert Hesse

Raspberries, butternut squash, and tomatoes have taken over my Saturday mornings when I would normally write the blog for Sunday. I know how to juggle three balls from my days as a professional mime, but throw in a little art, add some poetry, and the juggling gets even more thrilling.

Our Outdoor Sculpture Exhibit, Around the Pond and through the Woods on the theme of REFUGE continues Thursdays through Sundays, 11 - 4 pm.

Refuge Within, Liz Fletcher: Photo Robert Hesse

Walt Whitman visits the farm on Saturday, September 19th at 2 pm.
We will be hosting a visit from the towering Walt Whitman. If you’ve never seen Stephen Collins’ portrayal of the young, questioning Whitman, as well as the aging brilliant raconteur of love and longing, this is a rare opportunity to enjoy it en plein air. Stephen will be performing in front of the pond near my studio. Flinging Whitman’s words to the open sky makes Whitman’s poetry soar. I imagine even the kingfishers will pause to listen. Seating is limited so RSVP to reserve your seat. Tickets: $15.

Live Plein Air Poetry on Sunday afternoon, September 20th at 3 pm.
Join 26 poets sharing the poems they have written for Refuge, our online chapbook of site-specific poetry, inspired by the fields, pond, garden, trees, and creatures who live at the farm. The Zoom event will feature photographs by Brent Mathison who traced the paths of the poets and captured the glow of their words. Lynn Horsky designed the elegant chapbook. Poetry Editor Susan Edwards Richmond will be our host. You can join the livestream of this event beginning at 3 pm Sunday, at  facebook.com/OldFrogPondFarm and download the chapbook at at: penandanvil.com/hw/chapbooks.  There will be an opportunity to order a digital print copy as well.

On Saturday, September 26th we celebrate Bolton Harvard Open Studios from 10—4 pm.

When the farm season ends, I look forward to returning to more intimate blog post writing. Meanwhile, I hope you are keeping all your balls in the air!

Linda Hoffman, A Mudhead Mime, 1975

Catalpa: The Hugging Tree

Catalpa Tree in Bloom, June 27, 2020

In full white flowering, a trillion frilly night moths perch on stems, sending out sweet scents of rose and bergamot. These clutches of flowers, each the size of a newborn child, balance at the end of every leaf cluster. The leaves, heart-shaped and lime green, lay open to the sky, each one positioned for the best photosynthesis. Catalpas reach peak bloom near the summer solstice, late for most trees in our climate. Summer is too hot for delicate blossoms.

Everything about this tree is large, embracing, and opulent. The wood, uprising from the ground, a trio of trunks, holds so much weight its steep ascent is inconceivable. It must be in the third octave of its life. Such a magnum opus. The tree dwarfs the building behind, my studio.

From the studio loft window I have watched a pair of swallows sit together, then fly off, soaring, and mating. Their brood began life in the bird box a few paces away. Red-winged blackbirds often sit on a branch and squawk, while nuthatches pace up and down the trunk. These tiny birds peck at bugs in the bark, quietly though, not like the red-hatted pileated woodpecker’s incessant jackhammering.

A few years back we had a tree company put two cables into the tree, worried about losing one of the trunks in a storm. This trinity of trunks now supports each other. One large branch broke two years ago. The branch dove to the ground and shattered, the wound along it—an accordion of frayed wood. But I wanted to leave it, not remove it, to see if it would heal. Now, buttressed by earth, new branches grow, flower, and bear fruit.

The tree grows twenty yards from the pond. I imagine it drinks heartily with every meal. Big tankards of H2O. Its size is quite out of scale for our small farm, but the Catalpa’s nature is to keep growing—water the source of its ecstasy.

The Catalpa makes its own shade, its own ecosystem, its own refuge. But now the bloom is over. The flowers are faded and brown, the scent has turned musky. It’s been such a presence in my life for the last ten days, I took my meditation cushion outside to sit near its trunk. That’s when I started using the pronoun “she” and “her” when I referred to the Catalpa. Her branches, her blossoms. She became more than tree to me. She became protector and guide.

While writing about her, I remembered that in my dream last night. I met an Indian woman, dressed in a drab brown and gray sari, with drab-colored brown and gray hair in a bun, and I knew it was Amaa, the hugging saint. I’ve never met her, but I’ve heard friends tell of their experiences, the process of waiting in a long line sometimes for hours, for the few seconds or minute it takes to receive her hug-blessing. In my meeting with Amaa, she cupped my shoulders with her hands, and then bowed my head so we lost eye contact but our foreheads joined. We were sisters, or mother and daughter, or some connected ancestor. She said, “Baruch Shalom” three times. Baruch is the beginning word of many Jewish prayers and means blessed. Shalom means peace.

The Catalpa tree became Amaa, became the carrier of this message of peace, strength, and resiliency. She communicated that we have untapped powers within us we are not aware of. The passing away of the blossoms became the rising of another voice, a steadfast and calming voice, reaching out to meet us. Inviting us into her embrace, always with open arms, the hugging tree, offering refuge.

Catalpa Tree, July 4, 2020