Sharon Hawley

Sharon Hawley

Tuesday, October 7, 2014

Kelso Dunes

I find little use in speculating much on what a day might bring.  It leads to the equal errors of being dreadful or hopeful.  But in retrospect, today, as on the first two days here, I was thrillingly isolated.  As I review the pictures and memories of today (and I mean yesterday) I have a growing sense that I was learning things about myself that had never sifted into my thinking before.

 While hiking desert hills, there are brief times when I go totally without thought.  Not one idea crosses my mind, though my senses are alert to things around me.  If a raven flies over, I note its blackness, but I don‘t seek analogy for it.  The bird is a type of nothing, not metaphoric.  It is a thing without comparison.  I believe those moments are akin to contentment.

I used to wonder if literature might lose some of its interest if my life were set on such a sure course that things I read might stop seeming so powerfully like alternate directions for my being.  Not so today, for sights and sounds on the desert are the alternate directions I seek—real  and happening out there, far from anyone who could find me if anything went wrong.

I could became proud of walking singular, of my oneness, my loneliness, my ability to predict and avoid trouble.  But I’m just a spec on the surface of this earth, made small when I looked up from my campsite at stars gushing forth from roman candles.  They were large and near and moved on a stately surface that surrounded me like a shell about the world.  The kind of utter darkness that falls on a desert like that is inconceivable to a Pasadena stay-at-home.

I guess it’s time to show some pictures and talk about the day’s tramping.


In my last post about Red Rock Canyon, I gave you this picture and said you were looking at sand that blew in the wind 150 million years ago.  Today I got up at 4am to drive in darkness to Kelso Sand Dunes to see a present-day occurrence of blowing sand.














I trudged for a mile through grass-stabilized sand to reach the bare higher dunes in long morning shadows.












Wind from the northwest folded gently over the dunes, but it was enough to send grains cascading down the leeward sides.














This picture, taken just a few inches from the surface, shows how similar big dunes are to tiny dunes on their sides.   













These close-ups show the surface as it might look from an airplane—interesting similarities between near and far views of the same thing.















On the left an artist, feeling unction in the breath of life, expresses her joy in geometric form, arcs of happiness.  On the right, another adds finesse to the basic design, curly cues that seem more like embellishments on a scene from the real world.  She seems to ask what is real.












Here on the left, you just barely see the artist, so consumed is she in her work, that the work seems all that matters.  And on the right she teaches art to a young student. (You might have to click on the picture to enlarge it and then click "back" to return here.)















Grass tries, and often fails, to establish itself on the moving sand.  But here a community of strivers has created a footing.  Sand on all sides has blown away, but their sand, the sand that they together claim, is firm beneath their feet.  

8 comments:

  1. Sharon,

    I read your interview by Kathabela with much interest. The other day, I was reading "Hannihonjinron (protesting the theory made by Japanese about what the Japanese is)'" by Robin D Gill. The book made quite a turbulence in Japan since1985 and I think it ignited much discussions even today.The book is available only in Japanese but it includes many interesting observations about Japanese and one of them was about the nature writing by John Muir. You wrote about him in one of your previous posts and his style of writing must be distinct. I only read some in Japanese translation but I could imagine it as a long rumbling about the nature with passion. I've been to the Muir Beach and Forest and read about his work. I love that place! Anyway, with much respect to Muir's forestry and other nature related work, I appreciate the way you write. The argument in "Hannihonjinron" over John Muir's writing was that a Japanese translator, who was helping for the book to be published, she was obviously not understanding who John Muir was and the era he wrote it. She said his writing made her sick. She is a tanka artist and you write tanka and haiku, so you might understand her raw reaction, coming from totally different literary culture. I'm sure the author of "Hannihonjinron" was surprised at first or maybe offended when he heard of her poor opinion of an important American naturalist, and by now the translator perhaps studied much more about the American culture and history so she might feel differently about it today. Anyway, I thought you might find this story interesting. Also Robin D Gill became a lover of haiku and he published haiku books. West meets East at the same time East meets West.

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  2. Forgot to mention that I enjoyed reading the last two posts! I learned a lot.

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    1. That’s interesting about John Muir and Japanese writing. Basho would have liked John Muir, I think—naturalists both. Thanks Keiko for your interest.

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  3. Here I go, Sharon, reveling in the poetic array of your word~full and pictorial account of YOU. As you let us 'in' on your eventful travels into the vast and expansive unknown (to most) and so I pluck some words from your sharing that particularly spoke to me.

    "I have a growing sense that I was learning things about myself that had never sifted into my thinking before. ... I could become proud of walking singular, of my oneness, my loneliness, my ability to predict and avoid trouble. But I’m just a spec on the surface of this earth, made small. ... The kind of utter darkness that falls on a desert like that is inconceivable to a Pasadena stay-at-home."

    A journey into the self, as the self, revealing the self and all in good company.

    Thanks, Sharon
    Junnie

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  4. You are of the 'grass' where 'sand on all sides has blown away,' but 'your' sand, the sand that you claim along side those other strands of grass, is firm beneath your feet. Thus you remain within these moments that 'are akin to contentment.'

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    1. Thanks Junnie. That’s a good poetic summary of the day as I remember it.

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  5. I have a soft spot for dunes and for fellow poets writing journeys in the sand.

    Lois

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    1. Lois, you have a spare talent with words--so few say so much. I can fall down in the dunes and never get hurt, softly they break my fall. It's like falling into a big round mama. "I have a soft spot for dunes": it doesn't exactly say what I mean, but the feeling comes across. "Writing journeys in the sand" I could use that for a title.

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