You do not need me to bless you for the shorn field easily gives up its treasure into your baskets. Your quick fingers conjure food out of early morning mist, and in this light even the dumpster gives up its chipped vase, its clawfoot end table. The sidewalk gives up its clear brown bottle. You do not need me to bless you but I will anyway wish you clear sight into the world’s crevices and corners. Harvest the chives flowering under the workbench. Harvest the copper tubing looped in the scrap pile, the chrome fendered bicycle at the sidewalk sale. Clamp the broken slats of the chair together. Restring the guitar. And let your metal detectors whine always with joy. May you find all you seek, because at the end of the story the woman knots up her apron heavy with grain, then steals up to the sleeping body of the man who does not yet love her. And when she lies down next to him she will gather even the scent of his sleep— the smell of all future harvests, ripening.
An old Senegalese proverb says, “An elder who dies is like a library that burns.” This belief is at the heart of the small but moving independent film Goodbye Solo, directed and co-written by Ramin Bahrani. It’s also the conviction that drives the main character, Solo (Souléymane Sy Savané), an upbeat Senegalese immigrant to the U.S.
Are you really? Underneath the snows of winter, do you blossom on and on? Do the pocket gophers crave you, tunneling beneath that blanket, pray to enter your secret chambers, rest inside your open gates?
I see your flowering, fruiting clusters, hanging on into October, leaning into the open path, making way, ushering whatever is holy into the presence of things that stay.
Bob Dylan gave a wide-ranging interview to AARP Magazine and declared that if he hadn’t been a musician, he would have been a schoolteacher, and would likely have taught either Roman history or theology (AP).