1. |
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Teach me the dark, the infinite
shades of the infinite dark, the basis of all
the light that is, the origin, the ink bright spark
that leaps from the great black well,
the darkling spring, the raven luck, the mother
from which the big bang sprang, the womb
of dawn, the only cloak measureless enough
to hold everything, everything in its folds.
Teach me the inner midnight,
the moonless rooms, the lavish corners,
the mighty dark inside the fist, the vastness
of limitless space that links
with no effort the everything that is,
the everything that ever was, the everything
that will ever be. Teach me the song of soil,
the song of deep winter, the pure dark song
of the sea. All the dark that’s been terrorized
by light, and all the dark that’s been pushed away
and all the dark that’s been feared,
teach me its valor, its ferocity, its kindness,
its gentleness, its blinding generosity.
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2. |
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Long after our eyes adjusted
to the small, round beams of light
that shined on thick white columns
and reflected the rings of drips into shallow pools,
after we’d become accustomed
to the resonant dim,
at last we found a place to sit
and turned off our lights
and listened to the dark.
The only sound, the astonished heart,
persistent breath, and the drip,
drip, drip of stalactites doing their patient work.
How I longed to bring us all
into the cave where we are forced to forget
any differences the light might suggest.
How I loved the way my senses stretched out
to feel the other beating hearts.
Imagine we could do this every night—
could feel the other hearts in the dark,
all of them beating like our own.
Imagine no storms could touch us.
Imagine we forgot it could ever be any other way—
your heart, my heart, beating wild,
listening for each other.
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3. |
Mycelial
02:01
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Now I understand how grief
is like a mushroom—
how it thrives in dark conditions.
How it springs directly
from what is dead.
Such a curious blossoming thing,
how it rises and unfurls
in spontaneous bourgeoning,
a kingdom all its own.
Like a mushroom,
most of grief is never seen.
It grows and expands beneath everything.
Sometimes it stays dormant for years.
Grief, like a mushroom,
can be almost unbearably beautiful,
even exotic, delicate, veiled,
can arrive in any shape and hue.
It pulls me closer in.
Like a mushroom, grief
asks me to travel to regions
of shadow and dim.
I’m astonished by what I find—
mystery, abundance, insight.
Like a mushroom, grief
can be wildly generative.
Not all growth takes place
in the light.
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4. |
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We lie in the dark
and speak about anything
but what I ache to speak about.
Some part of me longs
to find the words like search lights
that will help us find
what we don’t yet know
we are looking for.
Or a black light
that might help us see
what is valuable right here,
but invisible to our ordinary eyes.
I try to infuse my words
with candlelight, but somehow
even this feels too brash,
too aggressive, and so
we lie in the dark
and I let the moon
do all the talking,
oh waning crescent,
you know when to shine,
when to simply be held
by the dark.
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5. |
Lumbricus Terrestris
01:43
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On a day when the world is weighty,
dark and dense with need,
I want to be the earthworm
that gives itself over to tunneling,
its every movement an act
of bringing spaciousness.
And when minutes feel crushed by urgency,
I want to meet the world wormlike,
which is to say grounded,
consistent, even slow.
No matter how desperate the situation,
the worm does not tunnel faster
nor burrow more.
It knows it can take decades
to build fine soil.
To whatever is compacted,
the worm offers its good worm work,
quietly bringing porosity
to what is trodden, compressed.
So often, in my rush to repair,
I end up exhausted.
Let my gift to the world be
my constancy, a devotion to openness,
my willingness to be with what is.
Let my gift to myself be patience
as I tend what is dense and dark.
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6. |
The One Who Thrives
01:27
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She has learned to bloom
like the tuberose,
opening in the light
but becoming more potent
in the dark.
Sweet scent of honey.
Tenacious scent of jasmine.
The hard won scent
of hope.
Scent of the one
who has learned to thrive
when thriving
doesn’t feel possible.
Scent of resilience.
Scent of I can.
Scent of the one
who finds grace
on the inside.
Scent of elusive beauty.
Scent of the one
who meets the soils
made of sorrow,
who brings to the world
a gift as astonishing
as a night-blooming flower,
a gift as honest
as the moon.
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7. |
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This morning I wake and my body
is a concert hall still echoing
the beauty of the night before—
like the morning after the symphony
when the theater walls and
the red velvet curtains still remember
the swell, the strings, the silence
before the applause. Oh,
how I love my body on these mornings.
I linger in the sheets, my eyes closed,
my arms flung over my head,
my belly soft as I open myself to memory.
It’s fleeting, it’s flirty, it’s there,
then it’s not. What was symphonic
is now a mere echo of what was—
as if everyone left, but the drummer
is still there alone on stage,
beating out a tempo, complex,
but true. Hello heart. Hello heart.
Was it really just a dream?
The melody escapes me,
but I swear I still hear the rhythm.
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8. |
With Red Thread
01:55
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It was Sam who,
that summer before fourth grade,
danced with me
at the church camp dance
and asked me to walk
outside with him.
“It’s hot,” he said.
“Let’s go look at the stars.”
And I, who did not yet
understand the sweet cramping
that tendrilled deep in my gut when
Sam held my hand, said yes.
We stood there a long time,
me looking out at the stars
because that is what
we were there to do.
The night was the color
of Wisconsin violets, crushed,
and Sam, still holding
my hand murmured low, “Oh,
look over there,”
and, when I turned
my feathered head, he leaned
in quick and close
and kissed my astonished lips.
Even thirty-five years later,
I am still somewhat
unprepared as I write
what happened next,
how he sprinted away,
a gleesome hart,
how I stood there, still,
my lips apart, the soft
hands of the night
still holding the most tender
parts of me as they spilled
like fruit no one knew
was yet ripe, and the sharp
stitch of longing so new to me
sewed itself into my breath
and never left.
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9. |
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But first, she takes a few slugs of absinthe.
The pale green thrill of it blazes in her throat.
God walks in just as she finishes her glass.
God finishes the bottle. Then he says,
Are you nervous? Wild Rose doesn’t hesitate
to say, No way. I am ready for anything.
God says they’re going for a spin.
Wild Rose doesn’t care where. All she wants
is for God to show her a real good time. And
she is open to what that means. Here,
says God, as they arrive at the car,
climb in. He opens the driver’s seat door for her.
She pours her long legs in. There’s no brake, she sees.
No rear view mirror. No reverse. No safety belts.
A big back seat. Oh yeah, she says, and revs the engine.
The night smells like licorice, like sweat.
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10. |
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I want to listen to your absence
the way I listen to the night—
the way the dark somehow
invites a deeper listening.
I want to hear, for instance,
the way silence fills in
where your voice has been,
or the way the room seems to know itself
by the pound of missing footsteps,
and in this way, I find you
where I cannot find you.
I am thinking of how the night opens up
between the calls of the owl
and how I listen in that interval
not only with my ears, but with my skin.
I want to listen for you with my lungs—
as if every breath is attentive
to the syllables of grief, of love.
I want my heart to angle in
to hear what the silence has to say.
I don’t want to hear what I most want to hear—
I want to hear what is really here.
I want to listen and learn from the listening.
I want to hear what is true.
I want to listen into your absence
and lean into it the way I lean into the night—
something so much larger than me,
something familiar and always new,
something so present, yet unable to be touched.
Something I am still learning to love.
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11. |
In Those Quiet Hours
02:46
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For two weeks after he died,
I’d fall asleep exhausted
only to wake just past midnight.
Desperate, I’d claw at sleep,
frantic to catch it and clutch it,
but always it slipped my grasp
and I’d lie awake till morning.
My friend suggested
I reframe those sleepless hours
as a sacred time, an intimate,
personal quiet time. Not a problem.
Not something to be treated.
Not something to be feared.
That night, as I emerged from sleep,
dreams dripping from me like water,
I did not resist the waking.
Instead, eyes closed, heart open,
still lying in bed, I said,
I love you, Finn. I miss you, sweetheart.
And woke on the shore of morning.
Ever since, it happens just like this—
when I slip from sleep,
I tell my son I love him
and slide unknowingly
back into the tide of dreams.
How many hundreds of times
when he was young, did I go to him
when he cried out in the night?
I’d press my palms against his chest
until his breath was a skiff for dreams.
Years later, though I can’t feel his hands,
though I don’t hear the lullaby of his breath,
somehow he arrives to comfort me.
And though I don’t hear him say
the words I’d always say to him,
I feel them float above me like a blanket,
warm in the cool night air—
Shhh. I’m here. It’s okay. I’m here.
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12. |
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Two nights after he died,
all night I heard the same
one-line story on repeat:
I am the woman whose son
took his life. The words
felt full of self-pity,
filled me with hopelessness, doom.
And then a voice came,
a woman’s voice, just before dawn,
and it gave me a new shade of truth:
I am the woman who learns
how to love him now that he’s gone.
It did not change the facts,
but it changed everything
about how I met the facts.
Over a hundred days later,
I am still learning what it means
to love him—how love is
an ocean, a wildfire, a crumb;
how commitment to love changes me,
changes everyone,
invites us to bring our best.
Love is wine, is trampoline,
is an infinite song with a chorus
in which I am sung.
I am the woman who learns
how to love him now that he’s gone.
May I always be learning how to love—
like a cave. Like a rough-legged hawk.
Like a sun.
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13. |
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Let’s say we gathered on the street tomorrow,
and let’s say we met in Kazakhstan
on a windy day near the Caspian Shore,
then I would say to you, as the Kazakhs do,
I see the sun on your back.
It means, Thank you for being you.
It means, I am alive because of your help.
Then I would ask to hug you and probably cry
because it’s everything, what you’ve done for me.
And as you walk away, I would marvel
at the radiance beaming from between your shoulders,
shining down your spine. It’s been so dark, and oh,
how you’ve carried me with your light.
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14. |
To Face the Dark
01:40
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To face the dark,
one does not need a light.
Nor does one need a watch,
a feather, a melody, a sword, a pen.
One doesn’t even need a friend.
To face the dark,
one needs only to face the dark.
There is something easier then
about the facing, when we know
we need no preparation.
Nothing is asked of us except
the willingness to face the dark,
the willingness to pause
in that moment when we
cannot see, cannot know,
cannot float on the sea of habit,
cannot fly on the feathers of routine.
But already, I’ve taken this too far.
It’s so simple, the invitation,
that it’s easy to miss what is asked.
Not a journey. Not even a step.
Just the chance to face the dark,
to meet yourself in that facing—
and to notice what being erased
and what’s doing the erasing.
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Rosemerry Wahtola Trommer Telluride, Colorado
I've been writing and sharing daily poems since 2006--and performing with music is one of my favorite thrills. Guitarist Steve Law created these fabulous soundscapes for this album that explores the dark. To hear more poems, check out The Poetic Path--a daily poem shared on the Ritual app. To read more poems, pick up one of my 13 books or visit my daily blog. Maybe come write with me sometime? ... more
Contact Rosemerry Wahtola Trommer
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