Wednesday, August 24, 2022

Unnumbered Opus

 




Behind every silver lining

There is the specter of a dark cloud

 

Above every quiet chimney

The memory of hickory trees

Swirls in smoke

 

And in the eyes of a wounded dog

Remains the promise of warm fields

Where he chased rabbits and quail

While wolves watched his tail wag high

 

Upon every long strain cotton pillow

The last night sleeps until the next moon

Embracing a promise whispered to a name

Five syllables long, a letter at a time

To make the promise last

 

Behind every silver lining 

There is the specter of a lingering cloud

 

August 24, 2022

© Vahé A. Kazandjian, 2022


Photo taken with a Russian Salyut 120mm camera.



Friday, August 19, 2022

Omar Khayyám And the Arizona Monsoon Season

 




It is the rainy season, called monsoon, in the desert. There is something comforting in seeing the desert varicosed by flash streams, sometimes even rivers carving the sand into small ponds. And there is something unsettling to see the essence of a desert absorb all the fluid gifts from above in the space of a moment. And return to being a dry land where a few weeds will soon grow, yet disappear as fast as they appeared.

 

Perhaps that is the most vivid image of “the moment”. That elusive passage that we all ignore while charmed by the “tomorrow”. By the promises we hope for in the “next”.

 

Rather, we see the “moment” as a means to the promised. And thus, we ignore our own passage as well by leaving it empty of the joy we could have had.

 

… It is raining now and I am degustating, perhaps as a hummingbird does with the nectar of desert flowers, that “moment”. My senses are awake, alive and grateful for every rain drop’s landing sound on dry stones and prickly cactus. For the “smell of the desert” where fragrances of musk, sandalwood, patchouli and amber mix into an incense to celebrate the rain.

 

Omar Khayyám, the 9th century Persian philosopher, scientist and poet celebrated the moment in his quatrains called Rubaiyat.

 

One of his famous lines is both scientific and philosophical:

 

Be happy for this moment. This moment is your life.

 

This morning, my senses inebriated by the fragrance of patchouli and sandalwood, I recalled one of Khayyám’s quatrains that had influenced my adolescent soul years before I knew about the moment and what happens next. Years before I put my lips upon the brim of life’s chalices to learn the difference between bitter and soothing; about passion sometimes leading to love; and about how unkept promises leave scars upon trusting hearts, and make them untrusting.

 

Here is the quatrain:

 

To wisely live your life, you don't need to know much
Just remember two main rules for the beginning:
You better starve, than eat whatever
And better be alone, than with whomever.

 

… And it is raining upon the desert.

 

 

August 19, 2022

© Vahé A. Kazandjian, 2022

 

 

PS/ I took this photo right after last year’s monsoon. With water and sun, the desert becomes host to life that had patiently remained dormant during the year. And that happens overnight, and becomes the glorious moment.

 

The Horse lubber grasshopper appears after the rainy season and is my favorite “decoration” of cacti as hundreds climb into a single cactus and, with their vivid colours, light it up like a Christmas tree!

 

This photo is almost anthropomorphic and may echo Omar Khayyám’s suggestions that even in the most harsh moment and environment, being with the right grasshopper makes that moment cheerful and kind….

 

 

 


Wednesday, August 10, 2022

Love Triangle

 




Prologue

I was looking for past healthcare articles for an academic article I am writing. I knew I had saved them on a thumb drive years ago.

A quick look at the list of the saved document and I stopped on one that said “Twooldmen”. Hmm?

 It was part of diary-like essays I used to write during my travels or when an event had captured my moment. I wrote these in a free format hoping that one day I can use the stories for new writings.

 I remembered the moment – it was at Gunpowder Park in Baltimore about 15 years ago. But I did not recall writing the lines.

 So, here it is. I did not edit. I did not add or subtract. I just added an old photo I had taken in Madrid sometime in the late 1990s. I think this photo was made for this essay!

 

 

Two old men sat by the tree.  It was August and they were wearing coats.  The felt casquette was very becoming to both of them. And yet they sat down on the ground.

 

I was waiting to see them pull a plastic bag from the bulging coat pocket.  A bag full of crumbled stale bread.  Rye bread perhaps, which is too dry even when it is fresh.  Bread they could not finish last week.  Bread for the pigeons they probably knew by name.

 

They hardly talked.  I was on a park bench shaded by an ash tree.  I was feeling lazy.  My big toe was hurting so I cut my walk short.  My foot got caught on a root end a few days ago.  I thought my toe was fractured but wanted to wait and see.

 

I could see the green eyes of the man facing me.  It was the sun on his face adding color to his eyes.  He looked my way but not at me.  I took my shoe off to rub my toe.  It was very tender.

 

And the other man, the one I did not know the color of his eyes, pulled a small bag out of his pocket.  It was a leather pouch, a large one.  It had a string tied around its neck.  Something one sees in movies.  And he held it in the palm of his hands, without looking at it. 

 

It was not bread for pigeons, I realized.  But he was holding the bag as a magician would hold a white pigeon in his hands after pulling it out of a hat.  A pigeon which would fly for a short while before landing on his head.  Or his shoulder. 

 

They did not talk.  And I was wondering why they were sitting on the ground, near a tree.  I felt bad that I had taken the bench from them.  I wore my shoe, got up and walked toward them.

 

“You have to take care of that foot,” the man holding the pouch told me.  His eyes were brown, yet they seemed red.  He was still holding the pouch in both hands.  I could not see a pigeon in it.

 

“Please use the bench.”

 

They looked at each other and smiled.  It was a capricious smile, one I did not expect from old men wearing coats on a balmy August afternoon. 

 

“We used that bench for years.”  The blue eyes of the other man were of a color a jeweler would dream of before going to bed.  They were not only blue, but of an old blue hidden in the shade the large casquette had shielded them.

 

“Please, sit with us.”

 

The three of us sat without talking.  Nor looking at each other.  My toe was not hurting anymore: my heart was racing and I could hear its rate.  We were like monks in an urban park.  One of us was holding a leather pouch.  I was the only one who did not know what was happening.

 

“We were hoping for a windy day,” finally the man with the leather pouch said.  “But I do not think it will pick up.”

 

It was an oppressingly hot August day near Baltimore.  Nothing was moving.  The forecast was for passing evening thunder and showers.  But evening was hours away.

 

Then the magician-man gave his pouch to the blue-eyed third monk.  Slowly.  As if he was giving his liver.  Then, after a slight clearing of his throat, he adjusted his collar, pulled slightly on his shirt’s cuffs, and dipped his hand in his coat pocket.  I could hear metal.

 

“Gracie would have loved a bit of wind.”

 

And he pulled a red dog collar from his pocket.  I saw his hand tremble.  And slowly, he pulled out perhaps five feet of a thin leather leash attached to the collar by a short metal link chain.  Now he looked like a man pulling his entrails out.  It seemed as painful as him doing so.  Slowly, yet with conviction.  It had to come out of his pocket.  Even if there was no breeze in the park.

 

“Fifteen years of love,” the other man said.  And holding the pouch close to his chest with his left hand, he turned around and hugged the self-eviscerator. I could see his eyes—they were blue and red.  More blue then red.

 

Then they looked at me, holding each other’s hand, the pouch between their chests, as if birds protecting their chick. And they held hands like lovers would.  Not old men.  Perhaps like old men who were lovers.

 

“It is time for Gracie to be in her favorite spot.”

 

The ashes looked like the ashes one finds near a barbecue stand in the park.  It was anti-climactic.  It was Gracie.

 

 

…. I got up to leave the old men lone.  They were hugging and now in tears.  I felt the pain in my toe again.

 

As I was walking away, the blue-eyed man softly bid me a good day.

 

“I was good that you joined us,” he said.  “Gracie loved meeting new people.”

 

September 26, 2009

 

 

Posted on August 10, 2022

© Vahé A. Kazandjian, 2022


Sunday, August 7, 2022

Niyati

 



 

No window stays open

Unless it learns to shut

In silence

When summer rain

Makes an old pillow

Wet

 

… And the room

Smells of sleeping dog

Next to an open bottle of wine

And of last night’s promise

That August rain showers

Make one forget

To say goodbye

 

But no window

Stays shut

When the pillow is turned

When the dog dreams of open spaces

Where cotton dresses tremble

Of the await

 

… Summer rain

A wet pillow

And a bed

Under the window

 

August 7, 2022

© Vahé A. Kazandjian, 2022

 

Photo taken with a 1960s Soviet medium format camera Salyut.

Thursday, June 30, 2022

Enso

 






And the circle did not break 

But followed, on an unmoon night,

The North wind to a new start

Veiled in cedar resin and myrrh

 

There was no start, no promise or fear

For a name, a smile and a farewell 

Veiled in cedar resin and myrrh

To sooth all sharp edges of remembered time

 

Time that got lost in the space of the circle

Stolen by the North wind, an unmoon night

In search of where all circles have a start

That starts with a name, a smile and a farewell

 

June 30, 2022

© Vahé A. Kazandjian, 2022

 

 


Tuesday, May 31, 2022

Ora et Labora

 






Time, without a whisper

Washed away my memories

As the bluest sea once did

An August night

To four footprints

And a name


... Cities of steel, of old stone and blue smoke

Colicky children, men short of morning breath

Unmade beds, and burning lands

Stole all my new time 

To fill

A silent old space


But, 

An August night

On a balcony over a narrow street

I, again, inhaled the night song

Of a frothy, angry, and unforgiving

Dark sea

And, with gratitude,

I wiped my fears

With unfolding

Scar tissue


May 31, 2022

© Vahé A. Kazandjian, 2022


Saturday, May 14, 2022

Cut Carnations Planted in a Dead Tree Trunk

 


 


 

The symbolism was attractive.

Someone had planted cut carnations into a dead tree’s trunk on the path I often take with my dog. The flowers were still alive, but when cut, even flowers know their destiny.

Like feelings.

So why plant dying flowers into a petrified container? Perhaps because it is difficult to just throw them away. Because they were once given with a kind gesture. Because they expressed what words could not.

Like a poem secretively written for the right time to read. In the right setting. By the right person.

… It was a last gesture by someone who left it on the path many others take. Alone or with their dogs. Perhaps to let them know that these carnations were once alive and fragrant. That they said what words could not easily say. To a special person.

And yet, there was hope. The one who now shared the carnations with strangers also left a bottle of water next to the cut tree trunk. As if to ask for their help in keeping the flowers alive for a short time. And celebrate them both for what they once were and what they have become.

The symbolism was attractive, but I did not water the flowers.

 

May 14, 2022

© Vahé A. Kazandjian, 2022