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patterns of ink

How fruitless to be ever thinking yet never embrace a thought... to have the power to believe and believe it's all for naught. I, too, have reckoned time and truth (content to wonder if not think) in metaphors and meaning and endless patterns of ink. Perhaps a few may find their way to the world where others live, sharing not just thoughts I've gathered but those I wish to give. Tom Kapanka

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Location: Lake Michigan Shoreline, Midwest, United States

By Grace, I'm a follower of Christ. By day, I'm a recently retired school administrator; by night (and always), I'm a husband and father (and now a grandfather); and by week's end, I sometimes find myself writing or reading in this space. Feel free to join in the dialogue.

Wednesday, October 31, 2007

A Melancholy Splendor














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A melancholy splendor comes
when autumn chills,
and green begins to bleed,
and red and gold
and russet runs the hills...
when all that grows
is gathered in the fields
and orchard rows
to be busheled up,
pressed and poured out,
or left alone to seep
in the fallen tea of earth...
when gardens go to seed,
and bursting milkweed
begs for second birth
by letting go the withered pod
to haunt
the meadows
and the markers
on the old church lawn
where, but for lonely shadows,
all summer shade is gone
in the melancholy splendor
of the fall.










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A few hours ago, our streets heard the last of trick-or-treaters, and October came to an end one porch light at a time. This was the mildest, warmest autumn I recall in my lifetime with average temps in the 70's, which delayed the color fest by a few weeks and muted the typical brilliance of west Michigan landscape. Not until last weekend did leaves began to fall, and the first trees to turn are now bare. As always, the towering oaks around my house will be the last to let go, so we'll still be raking around Thanksgiving.
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I know from reading around my favorite blogs that fall is on many people's minds, and I also notice that many of the bloggers I know share a touch of melancholy this time of year. I seem to revel in fall's beauty but wrestle with the finality of all that began in spring.
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I've always struggled a little with this. I love the peak of seasons: the deep and drifting snow, the lush green of spring, the splash of waves in the summer, and the colors and crisp cold of fall... but I must deliberately keep my spirits up in the "empty in between" of the seasons, those gray, non-descript days.
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Once all the leaves have fallen each year, I eagerly await the snow to come and cover the "blah" of November.
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In the next chapter of our story, we'll see that my mother has this same feeling about the fall (which is probably where I get it). She and Dad will be very happy about the news they get from Dr. Licker as summer ends, but more than the season changes as others learn that Mom and Dad will have a baby in April.
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Note: Between the lines of " A Melancholy Splendor" are hints of the relationships between life and death, harvest and labor, the garden and weeds (nurture vs. nature), beauty and decay, and hope and despair in the fall (by playing on the word as both a season and a theological term). Since childhood, I've been fascinated by Milkweed. Its life cycle is very dramatic from beginning to end when it seems to "give up its ghosts" to the wind. Its scientific name comes from Asclepius, the Greek god of healing. Milkweed also plays a "life and death" role in the life cycle of monarch butterflies.

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Saturday, December 15, 2007

Bringing Home the Duncan Phyfe: Chapter 23



Are The Lights on at Palmer?


Like many of the northern states and provinces, Michigan is a showcase for all four seasons. Springs are lush; summer days are warm and long; autumn runs the hills in melancholy splendor; and winter brings hope of a white Christmas. But before that grand and frosty entrance, there's the empty in-between when trees are bare, skies are gray, and people huddle in winter coats with collars up and everything in place but snow, the consolation of the cold.

During those in-between days, there are two kinds of people: those who wish they lived where it was warm and those who look to the sky for snow. My mom and dad were in the latter group, and one by one, we children joined them there.

To this day, my mother gets goose-bumps at the very thought of snow, and when it actually begins to fall she is beside herself with glee, looking out each window with dramatic sighs and smiles. And once the snow begins to “stick,” she runs to the phone to call those who know the meaning of this magically mystic question: “Are the lights on at Palmer?”

It’s a question she grew up hearing on the phone more than sixty years ago when she lived on Forest and Riverview and could look north one block to see the lights at Palmer Park.

The ice rink itself cannot be seen from there. It's in a deep flat basin surrounded by sparse but sprawling trees. The ice is shaped roughly like a large Christmas stocking with the heel of the sock on the corner of Gratiot Avenue and Garfield, and at the toe of the stocking was a small shelter where skaters could gather to tighten laces or get warm around a pot-belly stove. (The old building has long-since been replaced by a nice facility.) On the far crest of the hill is a playground and picnic area, but the park is most beautiful when the basin is flooded and frozen and the surrounding hills are white and all the lights around the rink are glowing in the falling snow.

It was when the snowy night was perfect for ice skating that Mom’s friends would call and shout into the phone, “Are the lights on at Palmer?” Mom would run to the street to look. They were most often on during weekends, but week nights, if the lights were not on, it meant the ice was freshly "re-flooded" or not yet shoveled for skating.

But if the lights were on, it meant there was good ice, and music playing in the night, and the pot-belly stove in the Skate House was ready to warm your hands and seat. The news would spread from friend to friend, and soon they were all bundled up, laced tight, and twirling on the ice, and the whole scene looked like a giant jostled snow-globe.

The winter before, Mom was still at home when that first snow fell and the phone began to ring; this year, she was married and living a few miles away, when the snow began to fall the Friday evening after they brought home the Duncan Phyfe. Mom’s voice was bubbling over when she phoned home and ask the question for the first time.

“Are the lights on at Palmer?”
“Yes,” her mother replied with a laugh, “You’re the third to call. I wish you were here to answer the phone. It's starting to aggravate your dad. Everybody’s going skating. I told ‘em they could all come over for hot chocolate afterwards.”

And just like that the tradition changed from Mom taking the calls to making the call. It did not occur to her at the time that this ritual had become a tradition. But what else do you call it when that single question is passed on to your children and your children's children who heard it all their lives, and who even now call home to ask as the first snow falls, "Are the lights on at Palmer?" (though no one we know has lived near the park for more than thirty years).

But that night the question was not a tradition--it was asked in earnest, and Mom was giddy to hear the answer!

“Don, the lights are on at Palmer. Let’s go! We've got to stop by Mumma's to get my skates.”
“Are you sure you can skate… I mean what would Dr. Licker say?”
“He said I could still do anything I was comfortable doing. I’ll be fine. I almost never fall, and you’ll be right there with me if I do. Let’s go.”
"If you're up to it, I'm game. I sharpened my skates last week."

As they walked toward the park, they heard the faint music coming from the loudspeaker on the skate house. The following were among the "new Christmas hits" that have since become timeless traditional favorites that will forever remind us of Christmases past: Winter Wonderland was not new. It had come out in the 30's, but many of its recorded versions were new. Bing Crosby's "White Christmas" was not yet ten years old. He recorded "I'll be Home for Christmas" in the middle of WWII [this is a recent cover of the song], and his Melekalikimaka with the Andrews Sisters came out after the war in 1950. [Hawaii did not become the 50th state until 1959.] "Have Yourself a Merry Little Christmas" was six years old. "The Christmas Song" was five years old. "I Yust Go Nuts at Christmas" was four years old. "Let it Snow" was three years old. Gene Autry's "Rudolph the Red-Nosed Reindeer" was two years old, and his "Frosty the Snow Man" came out in1950, along with "Baby It's Cold Outside," Leroy Anderson's "Sleigh Ride," "Blue Christmas"--not by Elvis but Earnest Tubb, and one of Mom's favorites, "Silver Bells." "It's Beginning to Look a Lot Like Christmas" had just been written and recorded that year (1951).

Mom and Dad were excellent “pairs” skaters, but that night they took it slow. Dad did all the backward moves. Most of the time they stood and talked with friends they hadn't seen it seemed for ages. It was just like old times to gather in that snow-globe, surrounded by all the familiar shapes of dimly-lit houses.

When it was time to go, they climbed the hill toward Forest, and held each other's shoulders as they put on their skate guards. Then holding hands, they walked under a canopy of bare tree limbs toward what was still for Mom the only place on earth that felt like home.

Saturday, March 26, 2016

Remembering Earl Hamner Jr.

It's been a busy news week, but one bit of news almost slipped by. My brother Paul just texted it to me.
Here is the full story in USA Today: Earl Hamner Jr. creator of 'Waltons,' dies .

I have written of this author here at POI on more than one occasion. Two years ago, I spoke of his voice:
"One of my favorite author-narrators is Earl Hamner Jr., best known for his television show, "The Waltons," which aired through the Seventies. By "author-narrator" I mean a writer whose own voice is inseparable from the tone and rhythm his words pull from the page. If you remember the show or have watched its re-runs, you've heard Earl's voice toward the end of the show as the exterior of the two-story clap-board house is show (just before all the sibling "good-nights" and a soft harmonica chord sighed into the night). You can also hear his voice at this link as Hamner's reads the opening of The Homecomingwhich was the basis for The Waltons. The story is about a blizzard that almost kept the father of the family from getting home in time for Christmas."
There is, however, a little-known recitation of Hamner's that became a favorite of mine back in the mid-70's. A college friend had "The Walton's Christmas" album, and I listened to it over and over. I even made a cassette tape of the particular reading I share below. There was a time I had it memorized to perform "in old-man character" in a Christmas program. Because of that the rhythms and imagery have never left me. I lost the cassette decades ago, but through the wonder of YouTube, I found it today.

Toward the end of the recording below, Hamner's prose becomes poetry. In those final lines about the seasons, you'll hear the first time I had ever heard the word "russet" used as a color. (I had only thought of it as a type of potato.) But Hamner combines it the phrase "the russet and gold of autumn." It is a line I often say when I see those colors in October. Decades later, I used the Hamner's "russet" color myself in "A Melancholy Splendor." 
Please take a few minutes to listen to this video. You'll hear Hamner's voice at the beginning, and you'll hear his heart in the tired, gentle voice of Grandpa Walton who was roughly the age of Hamner at his passing. 

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