If the sunlight illuminates a flower in the woods but no one is around to see it, is it still beautiful?
Beauty is in the eye of the beholder, but if no eye beholds it, is it still beauty?
I photographed this scene for the obliquely backlit combination of bold yellow coneflower and delicate wormwood with all the varied patterns and shades of green in the background, silhouettes, shadows, blurs and bokeh, and titled the photo “Backlit Bouquet”. But the image had more to say.
I walked along the trail as the sun set and could see as it moved that features were randomly highlighted—a cluster of leaves, a flower, the bark on a tree, and in watching the process it almost seemed intentional, as if some force or the sun itself wanted me to notice these things. As each thing was featured it did appear beautiful to me, but the one coneflower in the group that was highlighted gave me a new perspective. I would not have noticed them otherwise, and the one that was highlighted indeed seemed more beautiful than the rest because of the highlight of its graceful fall of petals, bold yellow color and soft rounded center, and all else seemed to be a backdrop to its special prominence.
When I shared the photo I scribbled the first draft of a new poem.
delicate, ephemeral, eternal; had I not chanced by as setting sun journeyed deep into the autumn woods to touch your face you would still have been as beautiful.
I knew it wasn’t quite right. “We’ll see what it develops into some time in the future,” I said then.
A few weeks later the poem was still with me. Once I’d written the rest, I found I just didn’t need those two first lines, they felt heavy and formal, and without them I found I could reorganize the lines of the poem, especially that really long one that I couldn’t split before. I also changed the word “journeyed” to “reached” because it was more of what I’d intended, remembering the sunlight that day as it moved down toward the horizon and reached and touched different spots deep in the woods. Added a comma too, and it became the finished poem above.
Oh, I can’t stop looking at all the feverfew
in my garden,
I just keep running from one cluster to another
those tiny perfect daisies
in umbels as if floating without stems
on waves of bright green leaves
the dots of dew flashing, sparkling
in the day’s new sun
just arrived over the horizon
its color still warm and yellow
as if it’s a cookie just taken out of the oven
and I have to look at all the feverfew
from every angle
until I’m done looking
and I discover I’ve forgotten all the problems of yesterday
and all the ills of the world that I feel the need to carry
and I’m laughing
and dripping with dew myself
and visualizing stunning works of art
and amazing poetry and prose
most of which will ever be realized
nor do they need to be
the inspiration only needs to settle into my soul in this early morning in June
and its glow will warm heart
and keep me laughing with joy
through the day
and the next
and the next.
Do flowers make us happy? Especially those little smiling faces of daisies and daisy-like flowers? Used to represent a universal flower type, little white flowers with yellow centers and a circlet of white petals have always been recognized as symbols of innocence and childhood.
I’m a sucker for a little white flower, be it chamomile or a daisy or an aster or…feverfew, even the mounds of it that take over sections of my garden every summer. It’s a native wild plant in my area and once it gets a root in the soil nothing can stop it. Yet it looks as delicate and happy and innocent as a flutter of butterflies.
Through the years caring for my mother and brother, money woes and running my business, the coming in and sadly, leaving, of members of my feline family have tended to pull me deeper into myself until I can’t get past myself to my creative self that is totally unaware of all these daily things. Sometimes when I’m weighed down by everything around me, a trip to the garden and seeing little smiling flower faces dotted with dew can awaken my creative senses and lift the weight off my shoulders—and a good thing because I need all my strength and balance to run around with my camera and sketchbook. A trip to the garden in the morning pulls me out of that space for just enough time that I can reach that creative self in time for another day’s work in my studio, and my kitchen, and around my house as I smile back at all those little happy faces covered with dew and suddenly see photos and paintings and fabric designs and, for the moment, forget anything else.
I’m proud to offer a folio of my poetry
Paths I Have Walked: the poetry and art of Bernadette E. Kazmarski
FROM FOUR ANNUAL POETRY READINGS AT ANDREW CARNEGIE FREE LIBRARY & MUSIC HALL IN CARNEGIE, PA
People who attended one or more of my poetry readings encouraged me to publish some of my poetry in a book from the beginning.
Once I completed my 2010 poetry reading, my fourth featuring the final piece of artwork in the “Art of the Watershed” series, I decided it was time to publish something and it should be those four poetry readings.
Poetry books are not best-sellers; it’s difficult to convince a publisher to risk effort on a beginning poet, and while self-publishing is the best option it’s not inexpensive and once you’ve got the book, someone’s got to market it. Plus, I’m a graphic designer and I designed books for years, and I want things my way.
All of this is a recipe for a little bit of trouble, but I decided the book was well worth the effort so I designed the book myself and had a set printed—no ISBN or anything formal, but it’s a start! I’m really excited to offer it.
Books are 4.25″ x 11″, 40 pages of information and poetry, with glossy covers featuring “Dusk in the Woods” and little thumbnails of all four pieces in “Art of the Watershed”.
$8.00 each plus $2.50 shipping (they are oversized for mailing first class).
My biggest inspiration for poetry, prose and artwork is the world right around me, and I enjoy the opportunity to share it from the perspective of one who walks and hikes and bikes and carries a camera, art materials and journal everywhere—even around the house—so the inspirations are fresh.
In December, 2006, two of my poems were chosen to be published on a section of the Prairie Home Companion website entitled “Stories From Home/First Person” for submissions of writing about the place we feel most familiar. I’m a long-time listener to PHC and reader of Garrison Keillor’s books as well as a daily listener to The Writer’s Almanac featuring news about writers and writing and of interest to writers as well as a poem, all compiled and read by Keillor himself. I was astonished to find my poems were among the first chosen from apparently thousands, and so happy to be able to share them with a potential audience of so many similarly inclined writers and readers.
My poetry readings and art exhibits were the vision of Maggie Forbes, executive director of the Andrew Carnegie Free Library & Music Hall, after learning of my publishing of those two poems. I owe her many thanks for encouraging me to present this combination of my visual and literary art, a first for me. I love that building, every inch of it, and the opportunity to bring people in to visit is an honor.
I always had a difficult time finding an adequate Mother’s Day Gift for my mother, but at one point settled on purchasing a couple flats of flowers and planting them in her yard. I did this for nearly 20 years, also starting seeds for flowers she liked that I couldn’t find, like hollyhocks. Though my style goes for the wildlife habitat and naturally shaped areas of wildflowers and trees, my mother’s yard was carefully sculpted with edged flower beds and shaped shrubs—I know because I was the one who did all the trimming—and she never failed to sneer and ask if I wasn’t going to clean up around here when she visited, we could agree on the riot of color of impatiens, petunias, geraniums and marigolds along with the occasional verbena, alyssum and other annual bedding plants.
The flower solution was more than an answer to a predicament; it reached much deeper than that. To say my mother and I didn’t get along well is a simplification, in fact an affront, to a much deeper issue. My mother lived behind a wall of serious clinical depression, and when I was born she developed most likely a deep post-natal depression that went on for more than a year and had a negative physical effect on her too, changing her body as well as her mind for that period of time. Though she recovered from this, lost the weight and regained her self esteem she had lasting medical and physical issues for the rest of her life. A part of her always seemed to hold me to blame for that awful time in her life and the changes in her body, I could see it in her eyes every time she looked at me. She kept her distance from me, treated me differently, denied things to me and even into her days of dementia she still berated me for imagined things I’d done, never thanking me for the things I actually had done, except for one brief time in all her illnesses she really was weak enough to let the wall down.
I learned some of the explanations for this through paperwork I’d found in her house when I sold it and which I still have, finding at least partial answers to many questions regarding both my mother and my father and their actions. At some point years ago I realized depression was the issue and instead of arguing and rebelling I just decided I’d get the heck out of there when I could. I sent myself to college, and it was the break I needed.
As the youngest I was always on hand until college, and in feeling I was responsible for my mother’s happiness I became her caretaker and in one capacity or another I maintained that role for all the rest of my mother’s life, through my father’s lung cancer and Parkinson’s disease, her many surgeries and medical treatments and nursing her to health afterward, actually teaching her to drive and buying her a car when I was totally unwilling to be a taxi service, pursuing the diagnosis of her lung cancer, and shepherding her through surgery, near death, recovery, home care, personal care and skilled nursing.
But I always knew, trapped behind that wall, was a person just like me. Years ago I had begun slipping behind that wall myself and understood the perspective from that place, but I was lucky to have escaped and managed it through my adult life. Though patience and understanding wore thin and there were times I avoided my mother altogether, I would do anything to see she had what she needed.