The Making of "Realization": Merging Time, Place & Being Towards Resilience

Updated: Mar 29

Ever since mid-summer of this current year, I've felt my entire body as though it was a pendulum. I’ve been unable to quiet my soul as I seem to be swinging in the ether, to and fro, ungrounded, untethered, dwelling inside digital palimpsests: either hoping or dreading to be read.

I've felt at ease, occasionally, when, for example, I worked in my garden. But since the earth beneath my feet seems oftentimes, to be quaking, I'm barely able to stand my ground. What's worse, my thumb gives up on me, and it trembles--my thumb isn't green these days, but blackened in ink. During difficult days though, is when I run away into the worlds inside books, and when I endeavor in creating my own worlds. Reading and writing become a means to shape pain into words, and words into hope, and so reimagining an outer world where I can find me in my home becomes a possibility. My survival instinct coaxes me to seek re-emergence. "It should be simple," I say to my other self, (the one in the mirror), "it's just about connecting. Inside and outside."

But these days, it's hard to connect, despite my best efforts. I'm a pendulum, rarely touching down and utterly stained in ink. I do remind myself though, that I too feel grounded when I’m teaching. Perhaps, because I teach inspired in the principles of ecology, which are grounded in dimensions of resilience, summoning [me] to a true call to action. I see what I must seek to restore me, my life, and while committed to show my students the path to health, kindness, and justice, I practice mine. A path to love, so we may connect with all in the ecosystems we inhabit, where we act and interact. And even where urban and wild spaces collide, we ought to coalesce with them instead, fluidly.  

My body is one with a tree, the ocean water blending with the body of water that it is this river in the forest. And although we're all fallen bodies, we merge and become stronger in our symbiosis.
The human body is 60% composed of water. When we understand that we're made of water, that we're fluid, it should be easy to adapt and to connect. The top photo is of my body lying on the Caribbean Seashore in Saint Thomas, Virgin Islands. Tony Butler's stunning photography captures the dignity of a fallen tree by a river bend in the forest. When we all merge, we re-emerge.

Today, I find inspiration in the shape of a scar. I imagine that polka dots of blood can be read like musical notes spilling sounds over the lines of a pentagram. Another scar might take flight, gracefully and sinuously dancing on the sky, like a flock of birds migrating to a sunnier place to prosper, to mate. A scar might even merge with the light, and this is how a wound might teach us to appreciate being alive. Wounds might teach us to keep on seeking the light. And so I hope this to be the case for the many of us wanting to remain wild even when wounded; wishing to be wooed by desire, by passion, and by love.

And this morning, I stir my imagination reading a poem by W.S. Merwin, "Day Without a Name," maybe  for the hundredth time, and it still sounds as if read for the very first time--because in it, I find something that I've thought I'd lost. And in it, I meet someone else reading the same. Feeling the same. Writing the same. Being the same.  After all, a page is a place where writers and readers meet and where they mate, not with their bodies, but with their words. A page is so much a place that, sometimes a sheet is a bedsheet, or a sheet is a pentagram. And on it, we breathe, we bleed ink, we heal, we make love: writing reveals itself before our eyes. Awe. 

Over the weekend of September 6-8, my husband Federico Ramos and I drove to Tehachapi for a unique visionary adventure to sightsee Native Americans' rock art in secret and sacred sites, guided by David Scott Whitley. Hence, my first essay Tracing Lines Between Stars: My Shamanistic Happenstance with David S. Whitley. Ever since, I've been writing and reading about Bob Rabbit, a shaman and a rainmaker whose pictographs impacted me the most, as hinted on the video of my poem a fix of ink, filmed at Coso Junction. I've been thinking a lot about the meaning of some rituals, and ceremonies, rites of passage, about resilience, and about the power of love. Reading and writing always affect me to think about being and place. This shouldn't be a surprise, but I love that it always is!

When I was hiking the dry and hot chaparral of Coso Junction spellbound by Native Americans' Rock Art, I had many an epiphany, and I blended with the space, feeling my skin as another shade of the landscape. But something else happened that reminded me of how we're always in contact with all the elements constituting our surroundings. Sometimes, we come in such a close contact with surfaces that we collide. Friction isn't fusion, so I know that at some point during the hiking, I disconnected, and I hurt my calf albeit in a mysterious way.

The happening was uncanny and more so to sight the strange scratches on my leg about an hour later when I was already walking an urban space. I had not felt any physical pain until the instant when I discovered these piercings on my skin as though made by the thin but sharp claws of a wild creature. They too looked like tattooed lines as if stenciled by an artist, and the colors of my skin and the scratches mimicked the place where I have walked upon, the chaparral lands of Coso Range.

As I looked down at my leg trying to remember when the wound could have happened, the lines on my skin started to burn as though internally ignited, and tiny blood dots burst, albeit timidly, in slow motion. And for a few seconds, these small spots remained caught on my skin, like raindrops ornamenting bare twigs of trees. But I soon realized that the land of the desert had impregnated me. My skin had the color of this land. I had merged with the rocks, and these injuries were my own pictographs. I wanted to decipher their meaning, as much as Dave had devoted his life to understand the language of shamans and the red clay traces made with brushes made of sage, and lines sketched by fingers left upon these rocks. 

Art created with photoblend. Juxtaposition of a photo of the scars on my calf over a boulder - Coso Range

A poem by the hypnotizing Arthur Rimbaud begins with this line "My turn now. The story of one of my insanities," in which he describes the power of inspiration and the imagination. Like Rimbaud, I too "[invent] colors for the vowels! [and] I ma[k]e rules for the form and movement of every consonant, inventing rhythms from within me, a kind of poetry that all the senses would recognize." And like Rimbaud, I am the only one able to translate them into a page, as I strive to do in this my now, to write now, right now. The thing is that this urge to manifest my expression and experience onto the place of a page is, without fault, the constant seed for creativity as much as is it seed for my making sense of my  insanity. 

When I'm sad, angry or obsessed, I want to create a place where I can go away to forget about the sorrows and the horrors and the bleak tomorrows surrounding this real world that I inhabit. I go into my pages and stay there, breathing into it, as it reveals upon me beauties and truths that aren't at odds with my identity as is everything else out there. In my world, it's possible to "believe in every kind of magic," as Rimbaud says. But I don't want to stop believing that it's possible to find all kinds of magic in the real world. I want to connect with the outside world. Adapt to be part of something greater. Feel included in this world of such beautiful diversity without being forced to relinquish my identity.