Tag Archives | Living from Love

California Naturalist Class, Part 5: David Plays

There are no lights outside the Chief’s House, and Lesley and I follow David carefully up the uneven stone stairs to the grassy area (which I’d been eyeing jealously as a comfortable meditation spot) and around to the back of the house. It’s late at night, but the fog which had rolled in with the evening’s wind makes the darkness seem lighter somehow. Perhaps particles of starlight, colliding with particles of water, become diffused in the atmosphere, illuminating the darkness with infinite drops of fluorescent fog.

The cypresses wave and creak behind us, and I wonder if our Great-horned owls are watching us from the canopies, eyes yellow and bright, penetrating the shadows with ease. Raptor eyes, they had followed and hunted countless scurrying beasts like us in the mad scramble on the ground from one place of safety to the next. The inner mouse in me quakes at the thought of them taking off on their silent wings, gliding above us. Are they scrutinizing us, establishing our general height and weight, determining if they could — perhaps together? — grasp one of us in their claws and….

I know David’s been in the Chief’s House many times, but our quiet stumble and tiptoe to the back door seems somehow stealthy and clandestine, as though we are breaking in somewhere we’re not allowed. We seem to me, in fact, not much different from the two musicians in Some Like It Hot as they walk-crouch near the wall, covering themselves with their instruments, trying to seem inconspicuous as they run away from the police trap. I am carrying David’s violin, and he is carrying his mandolin and a guitar, so the reference is not quite as far-fetched as it would seem.

“The front door key doesn’t work,” David explains.

I am not surprised. I wouldn’t be surprised, in fact, if in order to get in David lifted a rock and broke the window in the back door, threaded his arm through the broken fragments, and opened the lock from the inside. My breath hitches, but David does not lift a rock. He pulls out a key, and the door swings open without a squeak or a groan.

The three artists who had stayed in the house for the past week had left earlier that day. I’d watched them in the days since we arrived at the Boathouse, a peek here and there, as they wandered the grounds. One carried a camera with a big lens. Another, young, had come to listen to a lecture and had stayed for lunch with us. The third I often saw near the docks where I meditated in the mornings. We, aspiring California Naturalists, had left them be. They had come to spend the week in retreat with the intention of growing creative and inspired, becoming nourished by sea and sand and wind. Now they’d gone home, perhaps to turn the inspiration into essays and poems, paintings, photographs, eternal works of art or books.

The house towers above us, windows tall and unlit. David puts two instrument cases down, reaches for his violin, and holds the door open for us. Lesley and I tramp in and find ourselves inside a small mudroom which opens to a kitchen and a spacious dining room beyond. The kitchen has white cabinets, old and crooked. No table or chairs. A refrigerator hums in the corner. It reminds me of my grandmother’s kitchen when she lived in her old house in Tel Aviv. To my surprise, the rest of the house is beautifully furnished. I had expected it to look sparse, having heard from David that he had scrounged every single item himself from people he knows or at the office. I should have known better. This is David, after all, and the house is, therefore, lovingly decorated with attention to detail and comfort. There are paintings on the wall, apples in a bowl on a side table, and knick-knacks, suitably ocean-themed. David proudly leads us to a sitting room, the most beautiful room in the house, he says. He showcases the front porch and a window, from which, he says, we could see Drake’s Bay in the morning.

We follow David up the stairs to see the three bedrooms. None has a bathroom attached. The bathroom is downstairs, David tells us, and there is another one in the basement, but the basement had not been cleaned out yet.

“We could fit twelve people in here,” he says.

I wonder how. The beds are easily recognizable as halved bunk beds, perhaps from the Boathouse. One of the rooms, which both Lesley and David declare as their favorite, is so tiny as to be more like a monk’s cell than a room. I wonder what it’s like to walk downstairs in the middle of the night to use the bathroom, to sleep in this haunted, groaning old house. What is it like to sleep in a house with a cellar which may still have remnants of inhabitants dead long ago, spider-webbed furniture, old photos strewn near a clothes chest that smells powerfully of dust?

Downstairs, Lesley and I settle on the sofa. I drag the ottoman toward us, and we both put our feet on it. David sits across from us near the dining table and brings out, in order, his mandolin, guitar, and violin. He plays and sings. The dining room is cheery, and David’s voice fills the silence of the house with a lively song. David wrote the words and the music to all the songs he’s singing for us, real and fantasy stories about his experiences mixed with commentary and dialog.

I don’t dance, but I wish I could. I let myself merge with the music, the old house, the nearness of new friends, the cypresses waving in the wind outside. Only one and a half  days are left in the class, and my mind and body are tired. Tired of not sleeping well, tired of being in close proximity with other people, of filling my head full of facts and names of things. I am happy to surrender to the sound of David’s music, to the notes twirling around the room in a jiggy dance. The house creaks gently. Rob, our cook’s partner, comes in and settles in a chair across from us. Later, the next day, I’ll discover he’s a backpacker, and my interest in talking to him will unfurl, but for now I am ready to leave and allow him to stay with David and talk about whatever it is men talk. Lesley and I make our way back around the house and under the cypresses and down the hill to the Boathouse. David’s cheerful music, the ominous creaking of the cypresses and the imaginary wings of silent owls hunting follow me into my sleeping bag and uneasy dreams.

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California Naturalist Class, Part 3: Barf Car Vignettes

Rumbling down Sir Francis Drake Boulevard, cow ranches on either side, the sky is heavy with fog above us. In the car, some of us concentrate on surviving the nauseating drive, breathing in and out, staring ahead. David, both hands on the wheel at all times, foot perhaps too attached to the accelerator, recites J.R.R. Tolkien poetry:

“All that is gold does not glitter,

Not all those who wander are lost;

The old that is strong does not wither,

Deep roots are not reached by the frost.

From the ashes a fire shall be woken,

A light from the shadows shall spring;

Renewed shall be the blade that was broken,

The crownless again shall be king.”

We discuss which character of Lord of the Rings is closest to our hearts. I choose Sam, the hobbit, for his honesty, loyalty, bravery, and trustworthiness. He is not the hero, and yet the hero depends on him utterly for his success. Tonya interjects, pointing out that Sam is tempted not to return the ring to Frodo after he rescues him from the spider. I counter by saying that actually, though the ring tries to gain control over Sam, and arguably perhaps succeeds momentarily, Sam proves stronger and does, in fact, return the ring (unlike Gollum, if we want to compare, who kills his brother for the ring, Sam’s love belongs first and foremost to Frodo, and no ring can breach his loyal heart).

David, perhaps predictably, chooses the elf, Legolas. I poke fun at his choice, saying the elves don’t really and fully participate in the adventure. Higher beings, immortal, they seem somehow above any danger encountered by mere humans and hobbits. David’s reddish hair glitters and his eyes shine as he speaks of Legolas, his honor and courage. The elf from the book, he emphasizes, not the movie. David mentions Gandalf, too, as a possible choice, because of his humility. Gandalf’s hand is in every instance where help is needed, and yet he wanders the countryside humble and unobtrusive. You’d never know he had done anything to change history. I agree with that choice. I love Gandalf. I’d be Gandalf in a heartbeat if I could.

Tonya and Lesley, sitting in the back, choose no character for themselves. Perhaps they have not dreamed of living in Middle Earth the way I have, the way I sense David had. Perhaps their hearts are inextricably tied to some other book. Or perhaps David and I dominate the conversation too much with our Tolkien passion, our need to dive into the world of the book.

*********

I look out the window as cow ranches turn into marshy yellowing grass. Drakes Estero stretches to our right. I know somewhere there is water, fresh mixing with salt, but from where I’m sitting my view is mostly blocked by the bushes that frame the road. I search for wildlife, and suddenly, far in the distance, I see a tan shape of what looks to be a cat. I yelp intelligibly. David breaks the car at the side of the road, and we all run out, holding onto our binoculars (in my case, a monocular). I jog breathlessly after David and Lesley, both of whom, far ahead, seem much more used to running (or else, just younger). Tonya chooses to stay near the car. If it’s a mountain lion, perhaps she’s being wiser than us, but at the moment, it doesn’t matter that I may be running toward a carnivore that could kill me. My heart races with the joy of discovery, of something new, with the joy of being alive.

The estero lies before us, green and yellow and grey, punctuated by stretches of pristine, transparent water, and there, right in front of a little boulder mound, is the cat. I jerk the monocular to my eye and squint through. Tan indeed. Muscular. A cat for sure. But what kind of cat?

“I don’t think this is a bobcat,” David says.

“It’s a mountain lion,” I say with confidence, because I want it to be so. In the eye of the monocular, the cat walks regally up the boulders. Its muscles ripple. I have never seen any animal look quite this powerful, quite this strong. Nothing exists but its shape in my monocular. No estero, no birds, no grass. Just me and the cat. I wonder if it’s looking back. The monocular is not strong enough that I can see a face. Just a shape. Just the blatant power of a wild, living body.

The van with the rest of the class turns the corner. David runs to tell them to come see the cat, just as it walks around the boulders and disappears behind the grass. “It was small, but I think it was a mountain lion,” David says. I hear Chris say in reply that it was a bobcat. I gnash my teeth in frustration. It was a mountain lion. I know it was. I saw, as clear as day, the long tail, the tan, sleek body. This was no kitten. This was it, the king of the beasts, the top predator.

“A bobcat,” Chris says later in class.

“A mountain lion,” I insist quietly to myself, wondering why I feel so irritated. “I know what I saw.” But (fearing what?) I don’t speak up. The mountain lion, now a part of the estero and the park and the mythological journeys of the Barf Car, remains, for the time being, singularly mine.

*********

David likes raptors, and not just any raptors. I’d guess his favorite is the harrier,  He never says it in so many words, but I can tell. Every time we see a raptor in the sky, David pulls the car over. “It’s a harrier,” he says with bated breath, hands locked around his binoculars, eyes peering through with an intensity no plastic instrument can hide. “I can see the white band on the back.”

“I don’t know,” Lesley says. Her eyes, too, are glued to the binoculars. “The tail looks very red to me.”

A pause, followed by a slight sigh, “Oh, it’s a red-tailed hawk,” David admits. Then, “No, it’s a harrier. Look at the white band. Oh, no, it’s a red-tailed hawk.”

The hawk flies beside us over the golden hills of the coast, its wings spread out as it catches the wind. I watch it, entranced. Ah, to fly like a bird. To swoop down close to the waves. To dive through the air down the cliffs, wings tight at my side. To soar above dolphins as they slice through the waves. Ah, to fly like a bird. Like a harrier. Or a falcon. Or a red-tailed hawk. Even a sparrow would be fine.

“Now, that’s a harrier,” David says and pulls over the car again. “Look at the white band.”

*********

I must be feeling comfortable with David, Tonya and Lesley, because here I am singing to them a Hebrew song. David’s entranced. He’s a musician, but I can’t tell if he’s excited because he’s hearing a new song in a different language or because he actually likes it. The song is an Israeli rendition of a poem, “A Walk in Caesarea.” The poet, Hannah Szenes, was a young woman on the brink of volunteering to be the first woman paratrooper to Nazi-held Hungary. The poem can be translated like this:

“My God, My God,

May it never end,

The sand and the sea,

The rustle of water,

Lightning in the sky,

The prayer of Man.”

“Can you teach me how to sing it?” David asks.

In Israel, “A Walk in Caesarea” is often sung as part of Holocaust Remembrance Day ceremonies and has become, for many people, a song of sorrow about a lost life. Hannah Szenes was captured by the Nazis, tortured, and eventually executed. She was twenty three years old when she died. Despite that, to me her poem is a symbol of hope and love. It reminds me that humanity deserves to be prayed for. Sometimes, as I look at the trash which we humans carelessly throw out, at the toxins we thoughtlessly pour into our rivers, and at other damage which we believe our right to perpetrate upon the earth, it is hard for me to remember that everyone is worthy of prayer and love, even us humans. Hannah Szenes’ poem does not separate lightning, sea, sand and man. Standing on the beach in Caesarea and watching the Mediterrenean’s waves calmly wash upon the sand, she puts her faith in the power of regeneration, in life itself. She will parachute into Nazi-held Hungary to save other people precisely because she sees the interconnectedness of every grain of sand, every human soul, every drop of water.

I lean my head back against the Barf Car’s seat and think of Hannah Szenes as she stands, so many years ago, not in front of the firing squad but on the beach. I think of Hannah writing her poem in the tranquility of the sand and the sea, of the Roman archaeological ruins in the background. The Barf Car rumbles on back toward the Lifeboat Station. Harriers and red-tailed hawks fly by and owls hoot. Baby peregrine falcons balance on cliff tops as elephant seals and sea lions roar in the water below. Somewhere, a meteor rockets through the sky, and ahead, at our destination, our cook, Yaella, fills the Lifeboat Station with the good smells of food and love. For this moment in time, all falls into place as planned by the Great God in the Sky. Later all might be chaos again. For now, here is life and love.

Watch Ofra Haza, an Israeli singer, singing the song “A Walk in Caesarea.”

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Year to Live — Day 318 — My Grandma

This morning, I looked in the mirror, and out of it my maternal grandmother stared back at me. The same hair style, eyes, shape of face, the same expression, the same slightly dour down-turned mouth, the same wrinkles. A tear came into my eye. I miss my grandma. I love my grandma, and I know, from my memories of years ago, that my grandma loved me back.

My Grandmother, Safta Chaya, passed away twenty years ago in June of 1996. She had one of those cancers that can’t quite be pinpointed. I’m not sure anyone knew where or what kind exactly the cancer was. She just got sick, and then sicker, and then she died. I was so far away, here in the U.S. while she was in Israel, and I didn’t really manage to understand what it was she had. Even now, the entire progression of the disease and my grandmother’s eventual death are unclear to me. At age 24, I did not quite realize how much her death hit me, how much I cared, and how much I deserved to grieve.

Judaism has a wonderful custom for grieving: the Shiva. For seven days after the passing away of the person, the family congregates at the deceased’s house. Everyone comes: relatives and friends. In the more religious households, prayers are conducted at specific intervals. In other houses, the guests sit and tell or listen to stories. Often (and perhaps surprisingly), the atmosphere is not necessarily heavy with sorrow and tragedy (though those may be present). Rather, in most of the Shivas I attended, people seem to be suffused with gratitude for the community and the love and support that it presents, and with gratitude for the life of the person who has passed away.

I did not fly back to Israel to attend my grandmother’s Shiva, and so I cannot tell you what kind of Shiva my family held for her. Knowing my family from the maternal side, I suspect it might have been (and please don’t faint at my use of this next word) fun and full of humor and love. But thinking about my grandmother’s life, I begin to doubt. My grandmother Chaya (at least in the 24 years I knew her) led a lonely and sad life. A complicated life. Had there been guilt in the family’s mind about not making Safta Chaya’s life easier and happier? About not being there enough for her? I hope not. I hope that during the Shiva, the family were able to celebrate Safta Chaya’s life, and not just to pity or grieve it.

I’ve been thinking a lot about my grandma lately, about how much I loved her and why I loved her, and about how I loved her despite the fact that she was not an easy woman to love. I remember the whole-wheat bread she used to bake from scratch (her father was a real baker with the horse and cart and everything, selling bread he’d baked through town) and some of the other food she’d serve me when I visited her. She used to heat the food in the toaster oven (which my dad probably got for her): vegetables which she cooked before slowly on the stovetop, rice, and sometimes sautéed mushrooms too. Once the food was warm, she’d mix each element with a little bit of oil to give it a freshness, a pizzaz. She would cut salad for us without using a cutting board, calmly and carefully slicing the veggies over the bowl into neat triangles. When we ate, sitting together in her little kitchen, the door to the small kitchen balcony right next to us, I would feel cherished and loved. I could tell it was all for me. I could tell she wanted me there, that she appreciated every moment of the visit. There was a tranquility in that kitchen which I experienced nowhere else in my life.

After lunch, my grandma would play the piano for me — she begun to play the piano when she was perhaps 60 or so years old. She did not play accurately or with a smooth flow, and it was sometimes difficult to listen to her — especially since I played the piano myself and knew what the music was supposed to sound like. But today… today I wish I had listened more. I wish I had asked more questions and heard more stories. I wish I had spent more time with her, this woman who I loved but who was a mystery to me. And I wish those things because I see so many lines of similarities between us. I sense the lines of ancestry that connect us. I recognize those facial lines that proclaim to the world that I am her granddaughter. But most of all, I know that my heart is somehow linked to hers.

I can see the cyclicality of life in my grandma, my mother, and myself. In my daughter. I can see each of us enacting roles that family, culture, history assigned to us. I can see the similarities with which we play these roles even as each of us struggles to find her own place and individuality within our inter-relationships. I am not my mother or my grandmother, and yet I am tied irrevocably to both, just as they are tied to me and my daughter to all of us. A hereditary line of mothers and daughters, passing along love and wisdom and hardship from one to the other.

From the mirror, this morning, my grandma’s eyes looked out at me, and as I realized how much I love her, I also realized how much more love and compassion there is room for me to give to me. My memories of my grandma remain locked up in the glass case of memories, like the one that held her special China set and her little glass figurines, clean of dust but somehow hazy. A faint smell of mothballs, paintings of my aunt from when she was a young woman, the yellow sofa which used to be orange when it stood in the living room, and the shutters, always slanted, shadowing the room against the hot Israeli sun.

My grandmother’s life lives on in us, her female descendants: soft and hard, easy and difficult, clear and confused, but always full of love. My mother and her sisters. Myself, my sister and our cousins. All of our daughters, the fourth generation already born. And beyond us, beyond the barrier of death, all of the grandmothers and mothers and daughters before my grandma, whose life influenced her own and through her ours. I can see them, each trying her best. I’m not sure what it means, all this interconnectedness, but I can see it, feel it in myself. Perhaps, just perhaps, it is here to remind me — and you — that we are ever loved, that we deserve to be loved, and that we are never alone.

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Simplifying the Complicated Life

It’s 7:30am, and I’m already tired. Partly it’s because I didn’t sleep well last night. You could say I was besieged by strange recurring dreams concerning gorillas and high schools. Since I’m in the process of registering my son to high school, that might explain the second part, but I’m still not sure about the gorillas. Partly, however, I’m so tired because I’ve contemplated my schedule this week, and I am dreading what I see.

Ever since I’ve come back from the meditation retreat in September, I’ve become more aware of how overwhelmed I feel inside my own life. So much happens every day. I feel responsible for so many things and people. The driving… don’t get me started on the driving. And all of it, I confess, is by choice. My choice. And the question begs, if this chaos is my choice, why am I not choosing otherwise?

My brother-in-law once told me a story about a teacher’s example for good time management. The teacher placed a large glass vase on the table and fit large rocks inside, up to the top of the vase. He then asked the students if the vase was full. Yes, they answered. The teacher took smaller rocks and let them tumble into the spaces between the large rocks. Is the vase full now, he asked the students. Yes, they said. The teacher poured pebbles into the vase. How about now? He asked. Yes. Then he poured in sand. Full? The students, now wise, wondered if maybe not? The teacher poured in water. Now the vase was truly full. The moral of the story was simple: we have to fill up our time with the biggest rocks first, what is most important, and only then down in size to the water. If we fill the vase with water first, then sand, then pebbles, we have no room for the big rocks.

So what are my big rocks? I always come back again and again to this question. The kids, of course, hiking and being outside, writing, spending time with Dar, my meditation and qigong. I also have smaller rocks that I do not wish to be without: reading, spending time with the dogs, cleaning for the chickens (I know this sounds strange, but it actually makes me feel more connected to the essential me, the earth-me), making music, spending time with friends, connecting with my family, exercising.

Then there are the things I do which are harder to classify: cooking, for example — is that a small rock or a pebble? It is important to me to eat healthy and organic. I would prefer not to eat at restaurants, but cooking takes up so much time, seemingly more than its share in the order of importance. And, to make everything more complicated, it is also closely related to the much bigger rock of spending time with and still taking care of the kids, in, once again, two opposing forces. I guess some of my rocks are just not so black and white in the size department.

Then there are other things, like doctors’ appointments, for example. If it was up to me, those would be sand, or maybe even water. But what if it’s a doctor’s appointment for the kids? And paying my bills, whether sand, water or pebble, is essential to living an orderly and responsible life with direct implication to my peace of mind and the well-being of the kids, myself, and Dar. Unlike my brother-in-law’s story, I have not been able to find a way to make all of my rocks come together snugly in the vase of my life. It’s always an either/or. Either I take the kids to the dentist, or we can go home and spend time together. Either I cook dinner, or I help them with homework. Either I write or I go for a hike. It is always choice.

I remember one of my first conversations with my therapist. I described to her all of these things which I would love to do and explained how if only I was more methodical, less lazy, more organized, more efficient, then I would be able to do all of them every day. Jeanne thought that it sounded exhausting. Sadly, she turns out to be right.

Here is a schedule of my dream day:
5am wake up
5:20-6:30am meditation and qigong
6:30am breakfast while reading
7:00am-9:45am hike
9:45-10:00 clean for chickens, water plants in yard
10:00am-11:30am write
11:30-12:30 play the ukulele and sing
12:30-1:00pm lunch
1:00pm-2:45pm prepare dinner
2:45-4 pick up kids from school
4-6:30 spend time with the kids, walk dogs
6:30-7 dinner
7:00-7:30 read french
7:30-8:30 showers, spend time with kids
8:30 go to sleep

Here’s what I didn’t put in there:
My Reiki stuff: sessions, planning classes, promoting my business, connecting with people
Hanging out with friends
Resting or even just pausing
Talking with my grandmother in Israel, connecting with my family
Writing this blog
Laundry
Loading and unloading the dishwasher
Registering Uri to high school
Exercising
Doctors appointments
Date night with Dar
Massage
Answering emails
Volunteering at school
Grocery shopping
And so much more.

As I am writing this, I am wondering if perhaps I could look a week in advance and schedule in some things which are important to me. I would love to write every day, but do I really need to hike every day? Perhaps three times a week is enough, and perhaps I could assure myself of having that time by physically penciling it into my calendar? Perhaps I could play the ukulele in the evening instead of the morning, freeing up an hour and sharing that activity with the kids? That hour could be used to put in-between activities, for much needed pausing or, perhaps, for the laundry.

Jack Kornfield often reads a poem by the poet Ryokan:

BEGGING
Today’s begging is finished; at the crossroads
I wander by the side of Hachiman Shrine
Talking with some children.
Last year, a foolish monk;
This year, no change.

I tend to agree about that for myself. Last year, a foolish Sigal. This year, no change. The more I live and the more I learn, the more I realize how little I know. I realize how some things which seemed so ultra-important to me in the past are not necessarily that important at all. I find myself getting back to the essential, that which truly is important to me: to love, to share that love with people around me, to be at peace and share that peace with people around me.

Perhaps that, in truth, is my one big rock, living with the intention to love. Everything else, whether I hike or write, whether I play or talk on the phone, whether I answer email or water the plants — do these things ever truly matter if they are not done from the heart? And is not even folding the laundry the most important thing, the biggest of all big rocks, if done with love?

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Sigal Tzoore (650) 815-5109