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Neither a borrower nor a lender be;
For loan oft loses both itself and friend,
And borrowing dulls the edge of husbandry.
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Neither a borrower nor a lender be;
For loan oft loses both itself and friend,
And borrowing dulls the edge of husbandry.
This above all: to thine ownself be true,
And it must follow, as the night the day,
Thou canst not then be false to any man.
Fennel is a versatile vegetable that plays an important role in the food culture of many European nations, especially in France and Italy. Its esteemed reputation dates back to the earliest times and is reflected in its mythological traditions. Greek myths state that fennel was not only closely associated with Dionysus, the Greek god of food and wine, but that a fennel stalk carried the coal that passed down knowledge from the gods to men.Fennel is composed of a white or pale green bulb from which closely superimposed stalks are arranged. The stalks are topped with feathery green leaves near which flowers grow and produce fennel seeds. The bulb, stalk, leaves and seeds are all edible. Fennel belongs to the Umbellifereae family and is therefore closely related to parsley, carrots, dill and coriander.Fennel's aromatic taste is unique, strikingly reminiscent of licorice and anise, so much so that fennel is often mistakenly referred to as anise in the marketplace. Fennel's texture is similar to that of celery, having a crunchy and striated texture.
SALMON POTATO CHOWDER
Serves 12
Photo of the Matobo Hills in Zimbabwe, taken by my nephew Nevin.
photo from http://en.wikipedia.org/wiki/Bushmeat
Of course, this practice is as old as humanity. Before humans domesticated animals, they killed game—this term is a far less objectionable one than bushmeat. Obviously, I am not opposed to humans killing and eating game that is plentiful. But I really shudder at some of the types of bushmeat that is now being sold in some African markets—for example, gorillas. The one photo that I include here is of an African porcupine being sold as bushmeat. There are far more graphic photos on the Internet of bushmeat for sale—particularly chilling are gorilla heads. The great apes are virtually our cousins, so how can we possibly eat them?
So, I wrestle with the problem—how can we humans co-exist with other animals on this earth. Humans eating other animals and in so doing possibly wiping out species is not the only way we threaten animals. There are so many ways that humans and animals clash. Another thoughtful blogger addressed one of these problems—humans encroaching more and more on habitat that displaces animals. Then when those animals come around where we live, we take action that sometimes harms them. See Natural Notes 3 thoughtful post on Birds or Bears.
We humans have to accept that we are part of all creation, that the destruction of habitat affects us, that the loss of species affects us, that the great web of creation sustains and supports us. Destroy it and we destroy ourselves.
FIRST EASTER
Mark was always breathless in the telling of the story
Too rushed to even be bothered
To let us know how Jesus was born
Jumping right in to “the beginning of the Gospel”
Crying make way, make way.
Too hurried to attend to mundane details like babies
Crying in the night or shepherds shivering on the hillside.
And so it comes as no surprise that Mark dispenses
With details yet again. Right to after Sabbath sunrise
He leads the two Marys coming to complete the burial.
Almost an idle chatting, who will roll the stone, they ask.
Then looking up they see an open tomb. And Mark tells
Us they were amazed. Who wouldn’t be?
Angelic assurances aside, we’d be amazed to learn
That Christ has risen.
Is it any wonder that Mark ends abruptly the telling
That he began without fanfare or flourish. What is
There to say in the face of such wonder? Addenda
Are extraneous. And we can even forgive those early
Believers their silence and their fear.
By Donna F. W.
© 2003
I have many favorite dead poets, but one of my favorite living poets is Billy Collins. Billy Collins has a wonderful poem called Introduction to Poetry, in which he uses the line “tie a poem to a chair with a rope/and torture a confession out of it.” I love that line. While it really applies to the interpretation of poetry, arguing that you can just appreciate poetry without always explicating all its meaning, I would also apply it to the process of creating poetry.
As a young woman, fresh out of graduate school (which I attended immediately after college), I had the great good fortune to teach at my alma mater. I ended up teaching literature and writing there for 8 years. Since, at that time, the college was relatively small, I got to teach a whole array of literature and writing courses, including creative writing. Oh, what fun!
When we came to the poetry portion of the course, I had a most difficult time with students. It seems that when someone has a deep emotional experience, and puts that experience down on paper, the writer believes she (or he) has become a poet. I had the sad task of telling many an eager student that “just because you have felt deeply and have put those feelings on paper does not mean you have written a poem.” I also had the unhappy task of then looking into many a sad face.
So, what does make a poem? When I teach creative writing, or literature, I begin with prose. It is the most approachable form, in my opinion, because humans are born story tellers. If we were to be able to transport ourselves back in time, to the dawn of humanity, we would likely find a camp fire somewhere with a group of humans sitting around it at night wiling away the long hours by telling stories. If you think of some of the earliest great works of literature—the Odyssey, for example—what you really have there is a marvelous story, or really a series of events strung together into a story.
From prose, I move to poetry. I begin by asking students what the difference is between prose and poetry. And, inevitably, someone eventually says—they look different. And usually they do. Occasionally, you find a poem that is purposefully put into prose form just to challenge the reader and see it you can tell what makes a poem a poem. But usually you can tell it’s a poem just by looking at it.
Understandably, because of the kind of poetry students have been exposed to, I usually have someone say poetry rhymes. And I say, some poetry does, but not all. A particularly astute student might say, poetry has rhythm and meter. This is truer than poetry rhyming, in part because words have rhythm and meter. Some poetry arranges words purposefully so the rhythm is accented and repeated. The most common rhythm and meter—iambic pentameter (code for unstressed, stressed, repeated 5 times= da DA, da DA, da DA, da Da, da DA). That is the meter Shakespeare preferred.
Does an iamb confuse you? Think “Whose woods these are I think I know.” That is four iambs long. Oh well, getting too too technical.
After students have exhausted themselves trying to figure out what I might be asking them, here’s what I point out about prose and poetry:
o Prose speaks ABOUT something through the words; poetry MAKES something through words.
o Poetry IS what it creates.
Of course, the class goes on longer than that! But to achieve those two attributes what poetry does is select every word as though it were a gem. The word has to be just right, sparkling and packed with meaning. A poet can’t afford to waste words. You will find no (or maybe hardly any) modern poet who goes on and on the way Dickens does in one of his novels. Since he is writing prose, he can be profligate with his words.
Poets have to be parsimonious, sparing of words.
So, let’s find a poem to tie to a chair. How about Jane Kenyon’s “Let Evening Come.”
Let the light of late afternoon shine
through chinks in the barn, moving
up the bales as the sun moves down.Let the cricket take up chafing
as a woman takes up her needles
and her yarn. Let evening come.Let dew collect on the hoe abandoned
in long grass. Let the stars appear
and the moon disclose her silver horn.Let the fox go back to its sandy den.
Let the wind die down. Let the shed
go black inside. Let evening come.To the bottle in the ditch, to the scoop
in the oats, to air in the lung
let evening come.Let it come, as it will, and don't
be afraid. God does not leave us
comfortless, so let evening come.
Isn’t that wonderful? Look at some of the words and phrases that just sparkle: “chinks in the barn”; “cricket. . .chafing” compared to a woman with her knitting—but she doesn’t say knitting; she say “takes up her needles and her yarn.”
Or “moon disclose her silver horn.” And “fox go back to its sandy den”—not just “den” but “sandy den.”
And of course the repeated refrain of “let evening come” which holds the poem all together.
Well, untie the poem, let it shake itself loose from our temporary bonds. Now, just read it for pleasure.
Here endeth the lesson. Maybe another some day.