Shiprock, Navajo Nation

One place I had to visit on my trip to the Four Corners was Shiprock in northwest New Mexico. It had resided in my imagination for decades. I’d seen many images. It had been in several books—including the Joe Leaphorn/Jim Chee series by Tony Hillerman. (There’s an excellent adaptation on AMC right now called Dark Winds.)

The ancient volcanic plug is a holy site for the Navajo. I first saw it probably 50 miles away as a ghost on the horizon when I camped in Colorado at Hovenweep National Monument, and wrote about the view that day. When I eventually drove to it, there was a long route that would get me closer, but I chose a shorter, dirt roadway by GPS. I passed many reservation residences and hogans. Eventually, the route came to a wash that I was not willing to try to get across. So I settled for a more distant view.

Shiprock from drone

I first heard of Shiprock through the stories of Murray Bodo, OFM. He was a high school English teacher in Cincinnati of my friend and college roommate. I had the pleasure to meet him several times. As the Navajo find sacredness in the presence of Shiprock, so I found it in his presence. Fr. Bodo follows the tradition of his order’s founder and is an extraordinary poet and writer.

From the Lukachukai Mountains you can see the land. The desert stretches below you on all four sides and to the north Shiprock stands at anchor in the still brown sea. When I was a boy, my father and his fishing buddies and I would speed past Shiprock almost every weekend on our way to the cool Colorado trout streams. I had never seen the ocean or a sailing vessel, so Shiprock became my frigate on the high seas and I would fire a volley past her bow from the back seat of our Chevy while my father and his friends talked of fishing.

When we returned to Gallup every Sunday night, I would wait excitedly for Shiprock to come into view once again. I would adjust my spyglass and scan the emptiness for her. And then she would suddenly emerge like a submarine surfacing on the horizon. I would prepare the men for the attack and caution them to wait until we were as close as possible before we commenced firing. It was great fun always, and Shiprock became my private pirate ship on countless voyages across dry, waveless seas of sand.

Murray Bobo, OFM, Walk in Beauty, 1974

Shiprock, Navajo Nation

Today, as I drive slowly, meditatively on Route 666, looking at Shiprock, I realize my whole life has been a movement away from and, paradoxically, toward this rock that rises out of the desert like the ship that it’s named for. It sails fixed in place and time, the water now turned to desert sand. It endures, anchored where I find it over and again on the interminable voyages I take to and from the mother ship. Our origins are like that. We leave them and travel in ever-widening circles away from them. They continue to hold us in their circumference like the hub of the wheel we spin circles around. We break the circle from time to time and turn, return, to the hub that is there unchanged though we have changed and continue to change.

Murray Bodo, OFM, The Road to Mt. Subasio, 2011

About the time that book was published, Fr. Bodo spoke nearby, and I got to see and hear him again, and simply be in the presence of a holy man. If of interest, you can find his works here: MurrayBodo.com

Murray Bodo, OFM

The Fourth Sign of the Zodiac -- by Mary Oliver

Today starts National Poetry Month—no foolin’. I just listened to a rebroadcast of a 2015 podcast interview with poet Mary Oliver. I mentioned in an earlier post that I only learned about Oliver’s poetry after I read her obituary in 2019. Much of her imagery and metaphor come from her walks in nature and her incredible observation.

If you’d like, you can listen to the entire 49 minute podcast here or if you choose, the entire hour and a half unedited interview which is even better: On Being: About halfway through the interview, she reads her four-part poem The Fourth Sign of the Zodiac written after her encounter with lung cancer. Some excerpts of the poem accompany the images below.

Carlsbad Caverns National Park, New Mexico

The question is,
what will it be like
after the last day?
Will I float
into the sky
or will I fray
within the earth or a river—
remembering nothing?

from Part 2, The Fourth Sign of the Zodiac, Mary Oliver

The main reason to visit this park, of course, is the cavern. The second reason is to experience the whir of thousands of bats swarming out of the cave at dusk, some zooming a few feet over your head. An unexpected bonus of the park was walking through the Chihauhaun desert. In the image above, we were blessed with a striking setting sun over the Permian Basin.

Moonrise, White Sands National Park, New Mexico

I know, you never intended to be in this world.
But you’re in it all the same.

so why not get started immediately.

I mean, belonging to it.
There is so much to admire, to weep over.

And to write music or poems about.

Bless the feet that take you to and fro.

from Part 3, The Fourth Sign of the Zodiac, Mary Oliver

The fierce wind the evening pictured above at White Sands blew sand into your clothes. The wind began to settle a bit as the sun set. On a distant dune, three people sat to watch the moon rise in the sky.

Purple Sand Verbena, White Sands National Park

The Purple Sand Verbena is a desert member of the Four O’Clock family. Natives used it as a sedative to reduce nervousness, anxiety, and tension. I suppose that is from consuming it. Seems like just looking at it can have a similar effect.

Late yesterday afternoon, in the heat,
all the fragile blue flowers in bloom
in the shrubs in the yard next door had
tumbled from the shrubs and lay
wrinkled and fading in the grass. But
this morning the shrubs were full of
the blue flowers again. There wasn’t
a single one on the grass. How, I
wondered, did they roll back up to
the branches, that fiercely wanting,
as we all do, just a little more of
life?

Part 4, The Fourth Sign of the Zodiac, Mary Oliver

If you’d like to hear Oliver read the entire poem—and I encourage it—you can find it here. Or you can read it here. And an interpretive footnote—Keats was 29 when he died.

The Ocean From Which We Came

The Maine beaches were generally moody and overcast on our visit in October.

Wells Beach, Maine

The poet Mary Oliver frequently used shore imagery. She lived much of her life near the Massachusetts coast. Here’s her poem The Poet Compares Human Nature To The Ocean From Which We Came.

The sea can do craziness, it can do smooth,

it can lies down like silk breathing

. . .

Silky - Wells Beach, Maine

. . .

or toss havoc shoreward; it can give

. . .

Toss havoc - on The Marginal Way

. . .

gifts or withhold all; it can rise, ebb, froth

. . .

Sanderlings in flight - froth

. . .

like an incoming frenzy of fountains, or it can

. . .

Fountains — The Marginal Way, Ogunquit, Maine

. . .

sweet-talk entirely. As I can too,

. . .

Ring-billed Gull sweet talking

. . .

and so, no doubt, can you, and you.

Mary Oliver, The Poet Compares Human Nature To The Ocean From Which We Came, from A Thousand Mornings, 2012

On the Marginal Way, Ogunquit, Maine

The Waterfall -- Mary Oliver

I’ve shared some images from Obed Wild and Scenic River, a national park area in the Cumberland Plateau in Eastern Tennessee. With lots of opportunities for whitewater sports and rock climbing, the hiking trails are limited. A ranger suggested nearby Frozen Head State Park for hiking. We were off to find some waterfalls.

It was a warm, humid, sunny afternoon, and contrasty light is not favorable for photographing waterfalls. However, the forecast called for some storms and rain, so we headed out hopeful that conditions would change. We past a couple small falls on the way, but the light was too bright, so perhaps a visit on the way back.

We got to a nice twin fall with a big pool as clouds were moving in. About ten young kids were playing around the fall as parents watched nearby. Chance and I took a seat to watch when thunder echoed between the mountains. And — no kids and nice light.

Debord Falls

Few poets can imbue a poem with nature imagery as Mary Oliver. In 1991, Poetry published Oliver’s The Waterfall — For May Swenson. When Poetry received a massive endowment many years ago, all it’s prior publications went online so we can mine this treasure.

For all they said

I could not see the waterfall

until I came and saw the water falling,

its lace legs and its womanly arms sheeting down,

while something howled like thunder,

over the rocks,

all day and night—

unspooling

like ribbons made of snow,

or god’s white hair.

At any distance

it fell without a break or seam, and slowly, a simple

preponderance—

a fall of flowers—and truly it seemed

surprised by the unexpected kindness of the air and

light-hearted to be

flying at last.

Gravity is a fact everybody

knows about.

It is always underfoot,

like a summons,

gravel-backed and mossy,

in every beetled basin—

and imagination—

that striver,

that third eye—

can do a lot but

hardly everything. The white, scrolled

wings of the tumbling water

I never could have

imagined. And maybe there will be,

after all,

some slack and perfectly balanced

blind and rough peace, finally,

in the deep and green and utterly motionless pools after all that

falling?

Mary Oliver, The Waterfall, Poetry, January 1991