Raptor Rapture

Last weekend I had the incredible privilege of holding in my hand, an American Kestrel; one of the “Ambassador Animals” at the Cleveland Museum of Natural History.  Stryker, as this beautiful bird has been named, lives at the Museum, having been saved from a near-fatal injury which left it with a partially amputated right wing.

I have begun training to work with the Museum’s injured and rescued animals as a volunteer in its public education programming. I shared one experience a few weeks ago – my first encounter with Webster, the gorgeous corn snake.   And I am looking forward to learning more about all the “Ambassadors” at the Museum and sharing what I learn.

There is so much I could tell you already about this tiny falcon, this amazing avian predator; how its vision sees beyond our chromatic spectrum to pick up the ultraviolet urine trails of field mice,  or how it can hover – hang suspended in the air like the military’s Harrier jet – waiting for its prey to reveal itself.   But for now, I’ll just share this:


Let me tell you how
the heart leaps breath holds,
as this small creature dances,
talons pricking delicately now,
but (imagine) at another time
with fatal fierceness.

Settling, it grips a finger
and surveys the room.
The bright hard onyx of its eye,
seeing more and differently,
it becomes the ancient alien,
the wondrous other
of our weightless dreams,
our relentless, harrying fears.

© Kathleen Cerveny, 2018   


Christmas Mysteries

There’s a fire and a tree and candles, this Christmas morning – and I’m caught up in the mystery of some childhood memories.

What were your favorite gifts, as a child? And what do you think about them now?  Do you ever wonder why your parents chose that gift, at that moment, for you? And did you ever ask them? For me, two come to mind as I sit here in the quiet dark of this snowfall morning; both surprises at the time and, because I did not have the foresight to ask my parents while they were still with me, these particular gifts remain quite poignant mysteries.

I don’t remember asking for a puppy. I do remember, after church and breakfast and when all the savaged wrapping paper was tossed and ribbons and bows saved, my Dad saying, “One more present.  Get your coat.” as he handed me a bath towel. I don’t remember walking down the long street to Mr. Gilchrist’s house, or even remember my Dad, with his one war-shattered and other wooden leg, walking  with me. I do remember, and can still feel the warm wriggle of the blond, cocker spaniel runt of the litter in my arms as we walked back home.  I was eight, and ‘Drifty’, as I called him – because he was the same color as a satiny driftwood branch Mom had placed on the hearth as a decoration – became my confidant and best friend that year I began to feel the difference between me and all the other kids in school.

The other present called to mind this morning, as Apollo’s Fire’s Celtic Christmas spills into the room through my fancy Sonos wireless speaker, is the small RCA stereo console that appeared on my 14th Christmas. And the Joan Sutherland LP sent by my Godmother, who had taken me to see the colouratura diva in Lucia di Lammermoor when the Metropolitan Opera was in town earlier that year. For years afterward that console played Copland and Mahler, Puccini and Orff. It went with me to art school where I tortured the downstairs apartment dwellers with Nielsen and Bernstein.

We were not a classical music family. Growing up there was a small radio in the kitchen – just for news and weather and school closings. The closest we came was a set of 45 rpm records with all Richard Rogers’ Victory at Sea music. My Dad must have bought those in the ‘50s when that series was on TV.  He’d always wanted to join the Navy during the war, but was color blind so was rejected and went into the Army instead.

But when I was younger, the basement had an old Victrola and dozens of 78 rpm records; the original cast recordings of Oklahoma! and The Student Prince. And one mysterious, very large vinyl record; Dukas’ The Sorcerer’s Apprentice, which I played until it was worn out.  I don’t remember what orchestra, but the record jacket was the exact shade of vibrant green of the winter coat I insisted my Mother buy me one year.

No one played these records but me. As a child, I would spend hours marching around the big, octopus-armed Rheem  furnace, conducting and twirling to these recordings. I still know the words to every song in Oklahoma! and I still would give anything to play Ado Annie and sing “I Cain’t Say No.” 

I didn’t know why or how we came to have these wonderful things, or why I got a puppy I didn’t even know I wanted – or needed.  I desperately wish, now, that I had asked.

* * * *

Here’s a poem about Twirling.


In the basement’s blue-heart furnace world
beneath the Atlas-arms of heat
the banner of myself unfurls.

Victrola’s ancient voices turn
the gyroscope within. I meet
myself in basement’s furnace world.

The hem of my skirt, my arms and curls
fly up and out. Centrifugal beat
releases me and I unfurl.

Thready tenors croon and stir
the places where my sex first feels
its blue heat in this twirling world.

Perpetual motion stirs the pearl
of knowing; unselfconscious I’m revealed,
and blue heat rises as I twirl.

I vibrate. I’m a whirling girl;
a dervish, centered and complete.
The basement’s blue-heart furnace world
releases me. And I unfurl.

Kathleen Cerveny © 2013




Corn snake

As a teenager, my first awareness of the power of contemporary poetry came from an encounter with D. H. Lawrence’s poem “Snake.”  So beautiful, evocative and seductive the language, but so dark the subject.  The darkness did not lie in the image or actions of the poem’s snake, but rather was revealed through the dark heart of a human, acting on irrational or culture-generated fear of what is not understood.  The poem, through the speaker, offered exposition and expiation. The poem, for this reader, opened a wonder-world of depth and meaning through words that has remained my fascination with poetry to this day.

Yesterday I held a snake; a beautiful sienna and gold corn snake – or red rat snake.  His name is Webster, and he is one of the many ‘animal ambassadors’ – creatures in the educational programming division of the Cleveland Museum of Natural History, where I am a volunteer.  This was my initiation into the opportunity to someday work with the Museum’s animals that I’ve spent more than a year observing and learning about as a Steward (docent) in the Museum’s Perkins Wildlife Center.

Webster was a revelation. As a child growing up in the then-wilds of the ex-urbs, I used to catch snakes; the yellow-striped gartersnake, the blue racer. So I was neither squeamish nor afraid when Wildlife Volunteer Peter brought out Webster and allowed me to hold him. But I had forgotten, or perhaps never paid close enough attention as a child, to how specifically alive these creatures are.  The cool, smooth silk of their skin covers a body that is not just sinuous in its movement, but pulsing in the most subtle but powerful way. It is a long, continuously flexing muscle of a being that eases itself peacefully through the world and transforms itself into a whiplash when threatened.

I’ve thought a lot about why so many humans fear snakes.  Setting aside the devil in the garden myth, I think in part it may be because their mode of transportation and engaging with the environment is so unlike anything else on land that we know – including ourselves.  Most of us – even insects – have legs and arms; appendages used to navigate, investigate and manipulate our shared world.  But a snake seems propelled by magic; an invisible force. And its means of defense, as well as how it uniquely knows the world, is through its mouth and tongue.  (Only venomous snakes have fangs.  Most snakes have teeth – like us.)

Holding Webster yesterday – or, rather, being held by him, since he pretty much took over the job of engaging with me – was a pure delight.  Gentle but insistent contractions and expansions moved his smooth, cool, jeweled body around mine; I found myself festooned with necklaces, bracelets and belts of red and ochre patterned satin.  Feeling and observing his movements I could think of nothing better than it was as if he were swimming; flowing gracefully and with ease through the air, across the surface of my body.  Quite delicious.

As sensuous as the experience may have been, I was also conscious of Webster’s vulnerability. At its thickest point, the snake’s body was thinner than my wrist. His head and neck, the width of a pencil.  I could have done him harm had I not been careful in unwrapping him from the looped tangle he’d arranged of himself through the straps of my backpack and the cord of my Museum credential.  Yesterday’s experience was my first in observing the experienced wildlife education volunteers, and the first step in doing what it will take to become one myself.

For the live animal show in the Museum’s Sears Hall yesterday, Peter also worked with Sweetie, the red-tailed hawk and Lancelot, the porcupine, in addition to Webster the corn snake.  The audience of children and their parents, young couples and older folk had the chance to learn a lot about these important, wild and fascinating creatures that share our world.  As Peter’s lecture and demonstration were coming to a close, everyone in the audience got to touch Webster’s cool, smooth, clean body – but not the hawk or the porcupine.

Perhaps the reality of who were the scarier, more dangerous animals in the room resonated with some in the assembled crowd.

* * * * *

Here’s two favorite poems on the subject, from D. H. Lawrence Snake, and Emily Dickinson A Narrow Fellow in the Grass

Objets de ma Vie

First in a series of meditations on things collected from my life.

Let’s begin with this small stone; not two inches long, not an inch thick. It sits on a shelf in the living room, amid photos of past travels.

Rusty brown and gray-green, worn unevenly by time and who knows what other forces that shaped the here and now of its existence.

Plucked, blind, from the bottom of an icy pool; water, clear as air.

The stone, unremarkable except that it echoes, in memory at least, the stepped wall; water, falling loudly, feeding the stream and the forest pool. Water bouncing off the staircased rock of the wall. Water, plummeting; cascade upon cascade into the tiny gorge; the secret gorge, happened upon while wandering alone in the towering rhododendron forests of West Virginia.

First, the sound of water, rushing, somewhere ahead. Then, almost a path through the improbable looking-glass shrubs, last remnants of their extravagant bloom pinking the white sand-red clay forest floor. Almost a path but not quite.  Perhaps a deer’s trail, or beaver’s, scribing a tentative diagram of their wild empire, their invisible existence.

Sound rising as the filter of leaves thins and a splash of sky is seen up and ahead. Sound rising to the white noise pitch of silence. Rising, crowding out all distraction, honing and focusing attention at the nerve-edge of other senses.

Step forward. The air in the clearing; sharp.  Everything microscopically defined through the diamond lenses of fractured molecules flung from the crashing falls. Ozone so thick as if a fish, breathing water.

Another step and the screen of green closes behind. The clearing of the pocket gorge, a private room. And on the smooth blue surface, the polished blue table of the pool – an invitation.  
Now, sitting in this small room, early in the still-dark morning and late in the darkness of a darkening year, this touchstone plucks a bright chord of remembrance, a quiet note of something shining; another invitation.

The dark is not forever. There will be clearings. A pool – un-rippled by the deafening cascade of dissonance, waits.  Come. Dive deep. Seek the silence. Pluck and hold and keep the bright thing, hidden beneath the din.

Here is a poem I wrote some time ago about ‘collected things’ and the memories they evoke.The Things We Cling To

Summer, Sudden: Now and Later:

Just a late afternoon observation.DSC00931

It’s 5:15 pm and the sky just cracked and let itself loose.  Downtown, the day’s just ended for the workforce and I imagine the consternation: “Should we try to make it for the car, or stay and see if it lets up?”  “Where’s my umbrella?”

I’m sitting, snug and dry on my deep front porch, Jameson chilling (just one cube) in a heavy crystal glass, a thick curtain of water sheeting down all around me.  The sky complains mightily at some unknown offense, and the old, old maples and oaks throughout the neighborhood bend and brush the undersides of the lowering clouds.  Suddenly, the wind dies.  The rain drops straight and hard as a tropical deluge.

In the last five minutes the temperature has fallen ten degrees.  The cars passing in the street arc tsunamis of fresh water across the tree lawns along the way.

Five minutes more and the drama has settled into the humdrum routine of a summer storm.  The sky still complains, but at a distance, like a chastised child massaging its wounded ego after a well-deserved reprimand.

Church Bells Ringing, Rainy Winter Night, 1917

Church Bells Ringing, Rainy Winter Night, 1917

The rain has all but stopped, now, and the neighborhood droops like a Charles Burchfield* painting, the trees, eaves, even the parked cars dripping in a syncopated liquid patter.

A gnat has fallen into my whiskey, but I continue to sip it anyway, the alcohol having provided its antiseptic benefit.  One should not waste good Irish.

Bug in the Jameson

Bug in the Jameson

Tonight is supposed to be the height of the Perseid meteor showers. Not a chance for a view with this cloud cover.  I’m a little disappointed, but it’s been a sweet summer shower and there’s always next year.

A few ghosts of mist, rising from the cool rain silvering the hot earth, float across my lawn.

– – – – – – – – – – – – – – – – – – – –

Here’s a poem I wrote some years ago, inspired by a line from a poem by Denise Levertov.  At the Window

  • * This Charles Burchfield painting is in the collection of the Cleveland Museum of Art

Nothing New Under the Sun


4th of July in my neighborhood

Cleveland is preparing to host the Republican Presidential Convention in just a few days.  This opportunity has given the city the impetus to complete a number of infrastructure projects so Cleveland will shine in the eyes of all the out-of-towners.  Our brand spanking new Public Square is a hit, by all accounts.  But I’m not sure the re-designed bridges into the city will be done in time.  The Cavaliers’ championship got in the way a little when game six came back to the “Q” where the convention will be held, holding up the schedule for preparing the arena for the promised “show.”  The security zone for the convention will make it very hard for ordinary folks to get close to the action – not just protesters, but the locals who just recently fell in love with the splashy, family-friendly Public Square.

But down the road about five miles, in University Circle, the Art Museum recently put on a show that was as open as any kind of public event could possibly be.  Starting with Parade the Circle and ending a week later, the Museum’s Centennial Festival Weekend was filled, hour by hour, with open access to a dizzying schedule of creative performances and interactive events, topped off  by a grand, perfect-weather Solstice celebration and an outdoor Cleveland Orchestra performance.

I was pleased to be part of this Centennial Weekend  and, as I mentioned in a post a few weeks ago, participated as a member of Literary Cleveland, writing ekphrastic poems inspired by works of art in the Museum’s collection.  One of the works I chose was a painting by American artist John Rogers Cox, titled Gray and Gold.

Gray and Gold It is a work that has fascinated me for decades, with its surreal juxtaposition of nostalgic Americana against the menace of a pending storm.  In researching the work I learned that Cox was a member of both the Regionalist School of American scene painting (he was from Indiana), like Grant Wood, Thomas Hart Benton and Edward Hopper, and worked in the Magic Realist Landscape tradition. The painting was done in 1942, shortly after America entered WW II, a time of great patriotism and great uncertainty and fear.

As much as I thought I knew this painting by heart – I’d kept a very large framed poster of it for many years – I now had the chance, with this ekphrastic assignment, to study it in greater depth in the Museum itself.  And a detail that had escaped me previously created the impetus and inspiration for the poem I eventually wrote.  Two tiny white squares of paper on a telephone pole at the bottom of the painting spoke to me of how everything comes around again, and how the emotions and the polarization of this political season, while alarming, are not new.

You can read the poem, Crossroad, here.






All In, June 19, 2016

‘Tis the season of gifts.  Summer starts today.  Last night was the first ‘strawberry moon’ in 70 years – in my lifetime; full moon on the solstice.  And the Cavs are the NBA champs.

I am not a basketball fan.  My preferred sport is baseball – its timelessness, the absence of do-overs, letting the moment stand, the beauty and rarity of an unassisted triple play, the green of the grass in that bowl of space …  I could go on.

But I am a Clevelander and how can I not be a fan of the Cavs at this moment when they gave this city a spectacular, redeeming gift.

I have always championed my city – even in its darkest days.  I have defended it on airplanes when the guy behind me got vocal about ‘having’ to come to Cleveland for a meeting.  Smiled smugly when staff from the Rockefeller and Ford Foundations left Severance Hall after a Cleveland Orchestra performance shaking their heads in admiration and saying “I’ll never hear Schubert played like that again in my life.”

And though I have not been a follower of basketball, I have been keenly aware of the community impact of this game at this moment in my city’s life cycle.  We are on the rise – this time, I believe, for real. So the promise – the hope – of finally putting our 50 year long sports disappointment to rest was important to me.  And so I watched the game.  Rather, I flipped back and forth between the game and whatever was on PBS, because I am a wimp when it comes to being a witness to potential disaster.  (I can’t watch figure skating or gymnastics in the Olympics for this reason  either.) But I watched the final moments of Game 7.  I felt I owed it to this amazing team – and in a way, to LeBron, to stick with them to the end, no matter the outcome.

I will make no attempt to comment on the game itself – that would be foolish, because, so many others have done such a beautiful job of it. In fact, I have always been impressed with how stunningly beautiful and moving much sports writing is.  Take the essay “Is this Heaven?”  in this morning’s Times by John Hyduk. As a rabid fan of just plain, good writing, I must say that there’s a lot of sports writing that touches the human in us as profoundly as that of any other genre. Roger Angell, of course, Jonathan Schwartz, Roger Kahn and John Updike as well, to name a few on the national/international level.  But local writers have their day too; Bill Livingston and Bud Shaw often write stunningly evocative columns.

And if you are a fan of baseball and beautiful poetry, I recommend Steve Brightman’s chapbook, ‘In Brilliant Explosions Alone’ published by Night Ballet Press.  From the Press’ website; It is a “breakdown of the 2008 season of former Cleveland Indians pitcher Jeremy Sowers…it is a chapbook about individual struggle with expectation, the desire for success in the field in which you show talent, and about how others perceive you in that struggle.”

Well, this is more than I intended to write this second day after the glow of our Cav’s great gift to my city.  I couldn’t restrain myself from adding my kudos and my excitement to this moment though.  I’ll just end this brief post with two baseball poems I’ve written – one a haiku. Read them here: Aria  and Benediction.


Of Finches, Forsythia and Living With Wildness

DSC00621Like many homeowners, I like to adorn my front door with a wreath of seasonal celebration: pine cones and holly for winter, something autumnal for fall.  In March, while roaming the aisle at Michael’s, I found a wreath of imitation forsythia woven through a circle of bare twigs. It spoke to me of the messy but heartening emergence of spring growth from the seeming dead of winter.

Forsythia is my favorite early, early spring flower. I used to cut sprigs to force the blooms until my cats started to make a twice-given gift of their yellowness in liquid pools on the floor, the rugs and once on the bedspread. So hanging this artificial twiggy wreath of sunny joy outside the house, where I could see it for weeks on end through the glass of my front door, seemed the better choice this year.

Another great joy of spring is bird song. The wrens, robins, titmice, and chickadees, even the raucous blue jays and crows, twittering up the early morning air create a restorative aural tonic my spirit drinks up greedily this time of year. However, the confluence of these two joyous harbingers — the forsythia door ornament and the spring vigor of the local birds — has created a dilemma. finchesA pair of tiny, extremely lively birds has begun to set up house in the bramble of the wreath on my door.

At first I thought they were merely scavenging twigs from the wreath to make a nest elsewhere. Fine with me.  Happy to provide constriction material. Plus, it was lovely to see them pop in and out so close at hand as I drank my morning coffee. They seemed not to mind my watching them and were not even bothered by my cats’ predatory stares from inside the house.

But this morning I noticed, in the now slightly denuded area at the top of the wreath, that the birds were bringing sticks to the wreath. They had hollowed out a space and were building a nest right there, under the protection of my porch, against the window of my front door.DSC00612

Taking a step back, now – from their first appearance I had been struggling to identify the birds.  I am not a birder, although I do have some favorites I can recognize instantly by sight and sound: redwing blackbirds, chickadees, robins, of course, and cardinals.  Hummingbirds and owls are rarer – the latter sometimes heard but rarely seen. But I was unsure of what these were.  My first thought was the common wren.  Both birds were brown, but the (I assumed) male had patches of red – his head, chest and at the back above the tail – visible when he spread his wings.

Definitely not a cardinal.  Too small, no crest. I thought maybe some kind of sparrow, or thrush. But I happened to have a copy of Birds of North America and so started searching. But no, sparrow was too big and no red coloring. Thrushes were also too big and robin-like. It took a while to find them, but on pages 316-17, there they were – the Red Finches.  The picture of both the male and female house finches were perfect representations of my little house guests.  DSC00609

So now that I know who my ‘squatters’ are, what to do?  Two choices, and you can probably guess what they were: move the wreath now, while there’s time for them to start a nest elsewhere, or . . . refrain from using my front door for however long the gestation and fledging timeframe is for these birds.

Okay. Yes. I know.  The first option makes the most sense. But I am seduced by the opportunity to live in such close proximity to these wild creatures. I may be foolish and courting disaster for them (and maybe heartache for me), but my comings and goings, plus the activity of the mailman and the FedEx guy seem not to have phased the pair so far. And, I have a perfectly serviceable back door which I use more often than the front door anyway.

I did have one concern.  The wreath swayed mightily in the recent late-March winds. I worried that the nest or the eggs might not survive in a storm. So while the couple was away gathering more twigs, I quickly rigged an anchoring system – plastic fishline guy-wires looped through the wreath and secured to the clasps holding the screen door in place.  My fussing seemed not to have deterred the pair.  They came right back to continue their domestic engineering project.

As I write this, the pair are zooming back and forth from yard to nest with bits of wrinkled detritus, and the female is shimmying each new twiggy addition into place with her breast and and tummy.  Quite the animated, jiggy lap dance, as the nest grows almost before my very eyes.

I’ll keep you posted on what I hope is not a naïve and arrogant human interference in this small tooth and claw circle of life.  Meanwhile, here’s some facts about house finches.

  1. They are not native to the Midwest. Some New York pet dealers imported them from California illegally as cage birds, then set them free to avoid prosecution. They quickly adapted and now can be found throughout the U.S.
  2. They mate for life – as do many birds (swans, albatross, hummingbirds, owls, to name a few).
  3. They are vegetarians.  I know!  No bugs or worms.  Just seeds.
  4. They usually nest about 10 feet from the ground in twiggy shrubs but often choose hanging planters or door wreaths!
  5. Incubation takes 12-14 days and the chicks fledge in a mere 11-19 days. So I may get my front door back by early May. However –
  6. It is not unusual for a pair to produce two or more clutches a season. So I’m planning now what to do about the wreath after the first clutch – if it’s successful.

DSC00611I know I am being selfish in wanting these creatures to be part of my life.  They are wild things – however beautiful and entertaining they may be. So I must reflect on the work of writer and poet Mary Oliver, whose skill in framing this fascination with wildness but keeping it in persepctive, is a writing touchstone for me.  Here, from my bedraggled copy of her  New and Selected Poems, Volume One, an excerpt:

Lonely, White Fields (first published in New Poems, 1991-92)

       Mary Oliver

Every night

the owl

with his wild monkey-face

calls through the black branches,

and the mice freeze

and the rabbits shiver

in the snowy fields-

and then there is the long, deep trough of silence

when he stops singing, and steps

into the air.


Read the full poem Lonely, White Fields Mary Oliver







Skunked! Chapter 1

skunkI saw her first one fall evening a year ago. She waddled through the garden, hugging the fence line, slunk through the gate, across the drive and into my neighbor’s bushes.  Nothing like Disney’s suave Pepe Le Pew, or even the classic, glossy-furred black and double-white striped image familiar to us all.  No, she had a single horizontal stripe across her shoulders and a tiny wisp of white at the tip of her tail. She was bedraggled and dirty and the mass of her black fur seemed a burden to carry. An unlovely, pitiful sight.  I felt kind of sorry for her.  A few days later she made her presence known in the skunk’s inimitable way – in the middle of the night.

I’m a pretty handy and self-sufficient person.  I like to take care of things myself as much as possible. So, on to the internet and “How to Get Rid of a Skunk.”  I knew she was living under my deck, but didn’t know where she got in.  Taking the web’s advice, well after dark I sifted a thin layer of flour across the deck to capture her tracks as she came ‘home.’ It was unlikely to see her again, coming or going. DSC00577It worked!

I saw paw prints and the sweep of her tail captured in the sifted flour. But it was late in the year and the snows were upon us. I didn’t want to trap her in under the deck, and decided to wait until spring to block the opening. Researching the gestation period for baby skunks, I decided that by July she and any offspring would be nocturnally mobile – out at night.  So I waited and  spent a July night blocking that opening and every other one I could find. Pat-on-the-back! No noxious odors the rest of the summer.

Since moving to this lovely, inner-ring suburb of Cleveland and into my charming, 1920’s bungalow on a tree-rich street, I have enjoyed the wildlife that I encounter each day.  A small herd of deer sometimes sleeps among the trees at the back of my yard.  Two injured does have made it through last winter and this. DSCF4726 I see them limping on three legs, but still able to jump fences with the grace of ballerinas.  I have seen and heard owls. Birds of varied song flit from bush to tree, animating the air with chips of color.  The squirrels taunt each other and play manic games of tag, chipmunks scamper and veer like radio-controlled toys and the rabbits munch the dew-washed grass unconcernedly. I’ve seen an opossum and a raccoon and a few mice as well.  Hawks soar above the huge trees each day. The food chain is well supplied.

I am content for all these creatures to share my yard, knowing that I am really the interloper. I accept that the deer will eat my plants and the chipmunks will burrow beneath the stones of my walk and am willing to do what I can to discourage, but not harm them. As I said, I am content to share with all—save one.

There is a saying, “Man plans; God laughs.”  Its early spring now, and she’s back. Last week I got another distinctive wake-up call. Surprisingly, twice that week I saw her returning, about 6:45 AM, when I’m on my second cup of coffee and staring out my kitchen window.

So, with a blessed run of dry, sunny days, I tried the flour trick and it worked again. DSC00576-001She’d found a new way in.  Hoping to discourage her from setting up house again, I piled bricks in front of the new opening she’d dug at the base of the deck. But perhaps you can guess the measure of success.

The “call” came again last night, at midnight.  This morning I saw her trundling up onto the deck and watched her disappear under the steps—where I was certain there was NO WAY she could get in.  When I investigated, I saw she had pulled back the rolled-up chicken wire I had stuck in an open space under the steps.

Social media can be a good thing.  As I checked my email, there was a message from a neighbor on my Next Door  news feed talking about skunks.  The neighbor had called a live trap removal service which caught 16 skunks and a groundhog over two weeks!

Self-sufficiency aside, I’ve decided there are some things better left to the experts.  Stay tuned for chapter two. Meanwhile, here’s a lovely poem on the subject  by the late, Nobel Prize winning Irish Poet Seamus Heaney.  (Apologies for the double-spaced formatting.  I haven’t figured out how to change that for poems in WordPress yet.)

The Skunk  Seamus Heaney (1939-2013)

Up, black, striped and damasked like the chasuble

At a funeral mass, the skunk’s tail

Paraded the skunk. Night after night

I expected her like a visitor.


The refrigerator whinnied into silence.

My desk light softened beyond the verandah.

Small oranges loomed in the orange tree.

I began to be tense as a voyeur.


After eleven years I was composing

Love-letters again, broaching the word “wife”

Like a stored cask, as if its slender vowel

Had mutated into the night earth and air


Of California. The beautiful, useless

Tang of eucalyptus spelt your absence.

The aftermath of a mouthful of wine

Was like inhaling you off a cold pillow.


And there she was, the intent and glamorous,

Ordinary, mysterious skunk,

Mythologized, demythologized,

Snuffing the boards five feet beyond me.


It all came back to me last night, stirred

By the sootfall of your things at bedtime,

Your head-down, tail-up hunt in a bottom drawer

For the black plunge-line nightdress.


3:37 AM …

… and the deeply cratered southern lunar highlands have slipped below the upper edge of the skylight in my room. The rectangle of bright light from the full February moon has been sliding up the covers of my bed and now moves onto my pillow and into my eyes, waking me.

I estimate that the slice of skylight I can see from the angle of my bed equals not quite two of the moon’s diameters. I decide to watch the bright beacon descend on its westward trajectory as long as I can keep my eyes open.  I manage the task, watching the moon crawl slowly down through the spidered tips of the trees in the back yard. I can actually see it move.  Which is thrilling.  By 4:45, nothing is left but a soft glow at the bottom of the frame emanating from the now-hidden moon. I am tempted to go downstairs to watch it continue its journey, but I know from that lower angle it will be lost in the tangle of trees and the houses on the street behind my house.  So I go back to sleep. DSC00585

I’ve always been confounded by the movement of the moon. It’s never in the same place night after night. I recently took a wonderful class at the Natural History Museum, All Things Moon, and learned a lot. The moon moves approximately its own diameter each hour against the background of the stars – or a little more than .5 degrees along its orbit around the earth. It takes about 27 1/3 days for the moon to complete an orbit while the earth keeps spinning/rotating. 360 degrees divided by 27.3 days = 13.2.  So the moon rises and sets 13.2 degrees to the west each day and moves .5 degrees against the stars each hour of the day/night.  There’s a reasonably clear explanation of it all here, but it still makes my head spin.

Does the moon stun you, as it does me?  As long as I can remember I have been fascinated with it. Some years ago I wrote a poem that tried to capture that stunned feeling and it was chosen in a contest that was part of a local effort to put poetry on city buses.  Here’s the bus card that was produced.  DSC00526

The artwork was done by then Kent State Design Studio student Alexandra Charitan. I was a little upset that the image of the moon was reversed from what we see, but also learned from my class at the Museum, that photographs taken through certain kinds of telescopes reversed the image. The good thing, though, was that the big red lips ended up exactly over the Mare Nubium (Sea of Clouds) mentioned in the poem; the dark basalt plain in the southern hemisphere that I always imagined was the singer’s mouth.  Here’s the poem:

Night Song
The moon, sudden as a door slam,
rang the night awake.
The Aztecs saw a rabbit there.
For me, a singer croons.
A lunar anthem sounding
from the cloud-less mouth
of Mare Nubium; its tone
the perfect ‘A’ of Mozart’s clarinet.

Interestingly, since I wrote that poem I don’t see the ‘man in the moon’ singing anymore, as I once did.  It’s rabbits every night. What do you see?

I don’t know why I am so fascinated with the moon.  It just seems an impossible, magical thing, hanging up there in the sky.  You’d think that, with all we now know about it the romance of the moon would diminish.  But for me, it’s only grown.

Through the All Things Moon course, delightfully taught by the Museum’s deeply knowlegeable Shafran Observatory Manager, Clyde Simpson, I learned just how unique and symbiotic our Earth-Moon system is. In the massive collision of another planet (appropriately named Theia, in Greek mythology, a Titan goddess and mother of the moon goddess Selene), into our own 4.5 billion years ago, we acquired our mighty heart of iron.  In return we blasted and spun off fragmented elements of our crust which coalesced over time into the shining rock, locked in its orbit around us each day.  We are, in fact, geologic twins, or at least siblings.

Our world and life as we know it would not be possible without the companionable influence of our moon. The fact that it is moving away from us a tiny, tiny bit every year worries me.

“The Moon continues to spin away from the Earth, at the rate of 3.78cm (1.48in) per year, at about the same speed at which our fingernails grow.”  Dr. Maggie Alderin-Pocock

Read about it here.


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