Contemplative Inquiry

This blog is about contemplative inquiry

FIERY SUNSET, BRIGHT MORNING

a fiery sunset

changed by the onset of night

bright morning follows

22 MAY: WELCOMING SUMMER

Yesterday, 22 May, I welcomed summer. It was a hot day by local standards (28C/82.4F at its peak), followed by a slightly cooler evening. As I walked out to embrace the evening and the season, I noticed the hornbeam opposite our building in its full strength and magnificence. It matched the moment perfectly.

The two pictures immediately below show a garden in the middle of an urban square, where the flora also seemed to be welcoming the season. In the third picture, looking beyond the square to the east, the sky was clear, at 7.45 pm on this early summer evening.

Half an hour later, looking west from the Gloucester docks, I noticed the colour of the sky. Sunset would not be until 9pm, nearly an hour later. But the power of the waning sun was showing through the clouds.

In my last post (1) I wrote about the experience of late spring. This was less than a week ago, so the differences are subtle. Yet I am clear that a change I was anticipating has now occurred.

Giving names and dates to seasons is a somewhat arbitrary human practice. But it’s also an important one, even in a tec obssessed urban culture. It’s a recognition of nature and its primal power.

(1) https://contemplativeinquiry.blog/2026/05/18

EXPERIENCING LATE SPRING

Standing on my balcony I contemplate the last days of spring. I love the abundance of trees now in full leaf. We are in a cool and at times rainy period, good for growth. My local world feels fresh and alive, in a still spring-like way. I had the same feeling when noticing wild flowers beside the canalside a day or two ago. A kind of lush newness and vitality that I associate with the final stages of spring.

This is expected to change soon into a hotter, drier period. For me, this will mark my transition into the summer of 2026.

As I move through the wheel of the year, year after year, I recognise that my experience of of the four seasons is local and subjective. Fixed bureaucratic and liturgical demarcations are collectively necessary. But they do not always align with either local conditions or my personal experience. Tuning in and identifying where I stand in the year is an important part of my practice.

MAGPIE

A single magpie

On a seagull’s vacant lamppost

No sorrow as yet

Recently I was surprised to see a magpie sitting on a  nearby lamppost. There is a hierarchy in the neighbourhood that awards this lamppost to seagulls.  Clearly, the magpie did not know it’s place. Cheeky and cheerful, it dared defiantly to land and make itself at home. Bright eyed, it shamelessly enjoyed itself.

I turned my attention away and I do not know of any repercussions. The last line of the haiku references the a traditional rhyme about seeing magpies.

One for sorrow

Two for joy

Three for a girl

Four for a boy

Five for silver

Six for gold

Seven for a secret

never to be told.

Now, the magpie is long gone. As far as I can tell, we have both benefited from the pleasure of the encounter.

LONGEVITY AND WELLBEING IN DARK TIMES

The Llanthony Secunda Priory’s physic garden in Gloucester feels like a healing space, though it lost that role in the sixteenth century. When it was in use, a great many health problems could not be fixed. But  healers could still provide compassion and care. An after echo remains.

In the 1400’s and 1500’s overall life expectancy at birth in England was only 30-35, largely due to high levels of infant and childhood mortality. Added to this, maternal mortality has been estimated at 1-1.5% of all births, with a lifetime risk of 1 in 18 to 1 in 20. Because of these risks, a significant number of women died before the age of 45. Men over 21 could hope to live until 60 – aristocrats until 69. For them, ‘three score years and ten’ was not just an aspirational slogan. It was a real possibility though relatively few people made it.

If I map my own history onto the period, I could not have survived beyond my mid 50’s. The physicians of the day (and for a long time afterwards) did not have the knowledge and resources to fix my prostate cancer. In today’s world it has been banished for 20 precious years and has shown no sign of returning. I celebrate my 77th birthday in 18 days. I have survived into a time when I have been wonderfully fixed, for which I feel a deep gratitude. It has been a happy and fruitful period.

The health limitations I have now are not fixable in the same way. They go with the privilege of longevity. They are currently well-contained but they will not go away in my lifetime. So I look at well-being in other ways. Here is somebody else’s list of the ‘real luxuries of life’ (1):

Slow mornings

Freedom to choose

A good night’s sleep

Peace of mind

Calm and boring days

Being present

People you love

People who love you

These are all present for me, and they do alot to support my wellbeing. Sadly, I realise that in the world we now live in, they count as a form of privilege. Taken together, they are easier to experience when time rich with some material security.  Being a retiree is the most common way of achieving this and I really like it. But I wonder if our successors will get the same opportunities.

I have experienced the economic justice aspects of social progress going backwards for much of my adult life. Now all aspects seem to be threatened. Life expectancy is beginning to slip, with growing inequalities.

We also know, if we take evidence seriously, that the continuity of human life on earth is at risk. The largely unchecked climate crisis is the main threat, but nuclear war and an unstoppable lethal pandemic are also serious possibilities. Yet mechanisms to prevent them are being ignored by many people and actively undermined by some.

When I think of these things I feel a range of emotions: anger, fear and especially grief. I experience a sense of limited agency. I am also, to say the least, concerned about the capacity and good faith of major decision makers domestically and around the world. I worry about a future that I won’t  be part of. Any sense of legacy or contribution to pass on is deeply compromised.

I am glad that I can manage my feelings and put space around them. I can switch my attention and go somewhere else – to prevent myself becoming blinkered and obsessive. But  my distress needs to be there, included in my psychic ecology, as a valid reponse to bad collective circumstances that will be very hard to change. It’s part of being human. In such times, mature wellbeing can be a complex business.

(1) Facebook group Woodlarking

MAY MORNING 2026

Recollecting a lush 1st May as it was in the late morning. Green and white abundance crowding a knotty tree trunk. Exuberance and fecundity close to the earth. The energy of willow reaching down.

Throughout the day I was reminded that this day was also a full moon – a flower moon. Hoping to take a picture in the evening, I was frustrated by cloud. Yet the power of the unseen moon felt present, all the same.

A STEP TOWARDS SUNSET

April is ending. Sunset is now around 8.30pm. I’m enjoying an evening walk whilst also feeling fragile. I have slowed down and I’m walking with a stick.

The stick is not just a geriatric lifestyle accessory, though I turn 77 in May. I cannot rely on my balance. I have had two heavy falls outside in recent months. The first, last September, resulted in a bone fracture near my left shoulder and hospital outpatient treatment – mostly Xray monitoring and physio. The second, four weeks ago, was a matter of scrapes and bruises, but enough to shake me up.

I’m still physically resilient and have recovered well. My bones are strong for my age and I am now taking vitamin D tablets to preserve that strength. At the same time I acknowledge a slight shift in identity. Hence my slowing down and walking with a stick. Whilst I don’t entirely  like this change, I have found it easy enough to accept. Overall I continue to feel blessed. I am still alive, still mobile and still full of wonder at the riches that life offers me.

I notice that these recent experiences have influenced my approach to Mayday. I am very aware that, in the Pagan wheel of year, this date marks Beltane in half the world and Samhain in the other half. In a yin-yang kind of way, I’m thinking of both, as a kind of flowing, interactive unity. Unstoppable fecundity and inevitable dying away. One universal process.

So I am out walking, slowly, in the last hour before sunset, grateful that sunset is now so late, and getting later. I am quite happy that everyone is overtaking me, and in many cases showing some consideration because of my stick. There are courteous, often silent, negotiations over space. I frequently stop and look around. When looking at flowers on the canalside, I see both the power and fragility of life, as the waters continue to flow. Half an hour later, looking at buildings and sky, I see a play of still radiant light and gathering shadow. A bird flying away. I am refreshed by my witnessing of the world around me as I begin my return home.

CONTEMPLATING THE BIRTH OF HAIKU IN ENGLISH

The American born poet Ezra Pound (1885-1972) is credited with the first English language haiku, written in 1913 (1,2). He described it at the time (1) as a ‘hokku-like sentence’ and used two lines rather than three. A title provides some of the context, which differs from Japanese practice.

IN A STATION OF THE METRO

The apparition of these faces in the crowd:

petals on a wet, black bough.

Pound was born in Idaho, USA, but lived for most of his life in England, France and Italy. He was part of a generation eager to learn from China and Japan. Poets and artists alike were seeking inspiration outside their received inheritance of European derived culture. They wanted to shake it up.

Pound became a key figure in the modernist poetry of his age. In the years leading up and into World War 1, he was involved in the brief yet influential Imagist movement (3) whose three key principles were:

1  direct treatment of things, whether subjective or objective.

2 use no word that does not contribute to the presentation

3 regarding rhythm: to compose in sequence of a musical phrase, not in the sequence of a metronome.

It is easy to see how a Japanese Zen form could be a welcome influence, especially concerning the first two principles. But the point was not simply to copy the Japanese form. That would not be possible, and would not support the clarity and authenticity sought after. The languages are different. The Anglophone  poets would not be judged in part on the quality and presence of their calligraphy. The form would need to find a new home in a new language.

My personal attraction to haiku is its brevity and its focus on being in place.  Place is paramount. Time is usually abbreviated to an extended moment allowing for a  minimal narrative. In Pound’s metro station piece, the ‘apparition of faces’ is not fixed. It’s in motion, though very briefly, enough to be perceived by the poet/observer. Then there’s an attention switch to the petals and the bough – but the duration of the switch is likewise minimal. Narrative is confined to an extended moment of living experience.

Within such moments, I find a withdrawal and emptying out of personality and a sensitivity to interbeing (4), where the distinction between observer and observed disappears. They are not exactly one, but they are not separate either.

Hence for me, reading and writing haiku can be a contemplative practice and part of my inquiry. There are of course other ways of using this flexible form, but they all demand a momentary heightening  of focus and attention. 

William Carlos Williams (1883-1962) was an American poet of the same generation as Ezra Pound. One of his best known poems is a disguised haiku, arranged differently than is now conventional. I don’t know exactly what he meant by the opening phrase ‘so much depends upon’, but I like to think of as an invitation to open our doors of perception a little wider.

So much depends

upon

a red wheel

barrow

glazed with rain

water

beside the white

chickens

The unvarnished haiku would be:

A red wheel barrow

glazed with rain water

beside the white chickens

(1) Haiku in English: The First Hundred Years chief editor Jim Kacian, editors Phillip Rowland & Alan Burns. New York & London: W. W Norton & Company, 2013 (Introduction by Billy Collins)

(2) William J. Higginson & Penny Harter The Haiku Handbook: How to Write, Teach, and Appreciate Haiku. Tokyo, New York, London: Kodansha International, 2009 (25th anniversary edition, forward by Jane Reihhold)

(3) https://contemplativeinquiry.blog/2017/08/07/poem-au-vieux-jardin/

(4) https://contemplativeinquiry.blog/2017/06/20/embracing-interbeing/

LIGHT AND SHADE: CHELTENHAM MINSTER 7.06 PM,19 APRIL

light and shade

on the old church wall

anticipating twilight

SOMETHING MISSING

19 April 7.06 am, now a full hour after dawn. Above, a pleasant, even refreshing scene. But no sparkle. Yet my eyes saw moving, shifting moments of light. I was ensparkled.

Looking out, I felt co-present with an active energised dance of tiny lights. It was as if they were creating and recreating this world.

My camera didn’t lie. It provided a visual record of a beautiful moment. But it missed the numinosity of that moment,  and the nature of my experience. The technology is wonderful, but it has its limitations.

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