photography

Stopping by the Robert Frost Farm

Color picture of the Frost Family farm as taken from the woods

Even though I had to take a break from participating, I’ve been keeping an eye on the Kick-Abouts over at Phil’s Red Kingdom blog – the creativity is always phenomenal. Two weeks ago he announced that the prompt for Kick About #16 would be the last verse of Robert Frost’s Stopping by Woods on a Snowy Evening:

The woods are lovely, dark, and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

Robert Frost

This poem was my first poetry love: I cannot remember a time when I didn’t know this poem and didn’t find it magical. I distinctly remember being in my grandmother’s house when I was 8 years old, in my mother’s childhood bedroom, reading it in an old school book anthology I found on a shelf. If my childhood in Southern California was filled with parched chaparral, cars, and Santa Ana winds, Frost described a world that seemed to me in a snow globe or fantasy book – harness bells, snowy woods, deep silence, and solemn promises. I’ve always held this poem close – and I’ve found that has made it difficult for me to make art about it. But I still wanted to participate in the Kick About, so I decided to revisit a trip I took 6 years ago to the Robert Frost Family Homestead in Derry, New Hampshire. All photographs by me on my old iPhone then equipped with a now ancient photo filter app.

Color photo of a plaque registering the Robert Frost homestead as a national historic landmark

The farm is a day trip from Boston – where I was living at the time – and is absolutely worth the trip if you are ever in the area (their website is here). I went in August, so everything was as green and humid as it could be.

Color photograph of the back of the Frost homestead

It’s hard to fathom writers as famous as Robert Frost being anything but famous and successful – how could anyone have ever doubted the man, after all, he’s Robert Frost? But the origin story of the farm speaks to the fact that there was a time before he was famous, before the Pulitzer and the Congressional Gold Medal. Despairing for the fate of his daughter-in-law and grandchildren, Frost’s grandfather bought the farm for Frost to ensure he had a means to feed and support his family. You can almost hear Frost’s grandfather now, more than a hundred years later: “You want to do what? Be a poet? What – how – how will you feed the children?” Frost enjoyed the farm for the solitude and privacy to write, but was, by all accounts, a half-hearted farmer. He did make a go of it, however, and it was a working poultry farm for a few years.

Black and white photograph of an egg scale
View of the trees from inside the Frost home

It is amazing to walk the nature trail around the farm and see the inspirations for his poems for yourself: the woods, dark and deep; the mending wall; the old barn and farm tools.

Color photograph of the woods behind the Frost farm
Color photograph of the dry masonry wall behind the Frost farm
Meadow and woods behind the Frost farmhouse

The Frost family sold the farm in 1911 and it changed owners many times until it became a car junk yard in the 1940s. There is a heartbreaking display on the nature trail with a black and white photograph showing the meadow gone and buried under a sea of wrecked and twisted cars, nothing but thick and clumpy mud. Fortunately, after Frost’s death, the state of New Hampshire recognized the historic value of the property and purchased it. Restoration was undertaken with the help of Frost’s daughter Lesley and the farm was opened to the public in 1975. It is a peaceful and beautiful place to visit. When I read the words of Stopping by Woods on a Snowy Evening, I see the woods around the Derry farm, the road curving past on its way from town. I think everyone reads their own life promises into that last stanza – but standing in the meadow behind the Frost farm, it made sense to me that at least some of Frost’s promises were made right here, on an old farm in the New Hampshire countryside.

antique typewriter in the Frost farmhouse
antique ladderback chair in the Frost farm kitchen
Light through a window of the old Frost farmhouse
Black and white photograph of the view from the Frost farmhouse

Monet Refuses the Operation – Mueller

Photograph of wood panel wall with bright sunlight overlaid with words Lisel Mueller's poem

The post I am working on for Friday to mark the death of Camille Pissarro in 1903 reminded me of this post I did six and half years ago. I took the photograph in the hallway of an old converted house in Cambridge, MA – I was helping a friend of mine move out of the attic apartment. The light was just like that, pouring through a circular window at top of the stairs. Mueller’s poem came almost immediately to mind; this post is still one of my favorite very early ones from my blog. To read Mueller’s whole poem, go here.

Mars Being Red – Bell

red monoprint of nude woman with poem by Marvin Bell

In a red world, imprint

the valentine and blush of romance for the dark.

Marvin Bell (b. 1937)

I went out into the desert to see the NEOWISE comet at the end of July (figured I wouldn’t be around to see it the next time in 5,000 years) and also saw a spectacular show from Jupiter and Saturn. I fell asleep before Mars rose blood red in the sky, but my friend told me about it in the morning. I’ve been thinking about Marvin Bell’s poem and my red monoprint from a couple of years ago ever since. The original post, including a little about Mr. Bell, is here.


I also did some experimentation with my old polaroid camera when I was out in the desert. This is what happens when you try to take a picture of a cactus with only car headlights for illumination:

For reference (and to alleviate the nightmarish quality of the polaroid above!), here is a nearby cactus in the early morning light:

On a side note: I am really terrible at self-promotion, so I have told exactly one other blogger-friend, but I do have an Instagram account! (@merb02 or click here) I admit when I first started on IG, it was basically a repeat of Illustrated Poetry, but from here on out, it will be new and different pieces from what I post here. So if it’s your jam, it would be great to see you on IG too.

Monochrome Monday – The Noah Purifoy Outdoor Desert Museum

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Noah Purifoy (1917 – 2004) was an American assemblage artist who tackled issues of race and society. He spent the last 15 years of his life working on 10 acres in Joshua Tree, California. That space is now the Noah Purifoy Outdoor Desert Museum (click here for the website). It is, without a doubt, worth the bumpy off-road trip (navigable by regular car). His assemblages will stay with you long after you leave.

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I missed Silent Sunday because of travel – so it became a Monochrome Monday! I hope everyone had a great weekend.

Excerpt Wednesday – I dream of being a weed – White

Idreamofbeingaweed_2.jpgI was immediately impressed by Ms. Jana White’s poem I dream of being a weed, posted way back in February. I’ve read other poems about weeds, both literal and metaphorical, but her take on these hardy little plants is both beautiful and unique. She also created a lovely drawing to accompany her poem (a poet after my own heart!), so I decided to let this one sit for a while and incubate in my imagination. I wanted my illustration to be different and complementary to hers. A photograph of a grasshopper, taken by me on a recent run, became the inspiration to return to this poem and create a photo collage. Ms. White’s blog, Poetry of Light, is wonderful and I encourage a visit over there to experience some of her poetry. To hop directly to the full text and original illustration of I dream of being a weed, click here. Photo collage by me. Have a great Wednesday!

Short Poem Saturday – The Golf Links – Cleghorn

TheGolfLinksWhen I tour the Illustrated Poetry archives, I usually find myself in “revision and update” mode; like with any draft, time gives me fresh eyes to see my old posts. But occasionally I come across a published post and think, “no revision necessary, I would do it exactly that way again.” That is a pretty good feeling (rare as it is!), and so I’d like to re-post one that earned such an accolade.

As I mentioned a year ago, this trim quatrain has become the lasting legacy of poet, activist, and educator Sarah N. Cleghorn (1876 – 1959).  She devoted her life to working for numerous causes and published a great deal, but the continued fame of The Golf Links has led her to be most closely associated with the movement to end child labor in the United States. Published over one hundred years ago, this poem feels firmly rooted in the past; however, in many parts of the world child labor is a current and ongoing problem. Perhaps this mighty little poem still has work to do…Photograph and composition by me.

We interrupt this regularly scheduled post…

WKQG4943.jpgYesterday I witnessed a terrible accident.

We are driving to meet a friend for dinner, heading the opposite direction of our commute, the opposite direction of traffic. Traffic flows easily at full highway speeds, or faster perhaps.

I hear it before I see it. An explosion a quarter mile ahead. I don’t see the inciting incident, but others do. I see a smear on the diagonal vector, no longer parallel. Time is slowing down, and the cars around us pause at 65+ miles an hour.

The nose of the car shoots up into the air, points at the sky. A metal pirouette, a Nancy Rubins’ in real life. It lands on its side and in some complicated equation of forces, begins to tumble. I am pulling right hard: the road ahead is a cloud of debris, spinning off at impossible angles.

And I watch it go 1…no, no, no, no, no…2….no, no, no, no…3 lanes of traffic, wheels over roof. It slams mid-somersault into the earthen embankment on the shoulder with another explosion of dirt.

shit. shit. shit.

And tumbles back to rest on its roof in the slow lane.

Call 9-1-1! Call 9-1-1! I shout and we are out of the car, running. Others are running too, converging on the car. Colored fluids are pouring from its exposed silver belly. Every one of our faces is a grim mask.

Because we are sure the people in that car are dead. Maybe not yet, but soon.

Instead, there she is: a woman on her hands and knees, looking up at us out of an upside-down window frame.

“It’s only me in the car. I’m okay. I was wearing my seatbelt.”

She is bleeding from small cuts all over her legs, the glass pressed through her pantyhose; she is dusty;

and she is okay.

As we help her out of the car, there is only the present, no past and no future. It occurs to me: I witnessed an honest-to-god miracle.

That feeling has stayed with me since yesterday.  It happened in an instant is always the cliché on accidents, and we are taught to always avoid clichés, but, but, but

I think over and over again…

Be kind.
Drive like you care about life.
Wear your seatbelt.

They talk about events that shake you up, make you see the world fresh, stripped of the illusion of security and ground, as Buddhist teachers say – and this was one of them. That second to the last statement is for the driver who hit the woman; witnesses said he was weaving erratically between lanes and speeding when he clipped the woman’s back bumper and sent her car spinning. She told us that she never saw him coming and never knew what hit her. Photograph by me, a blurry version of this Silent Sunday. Nancy Rubins creates fantastic (and often massive) sculptures out of recycled metal parts – you can see examples of her work here

Double Original Friday – Motto of the Grand Old Order of Molluscs and Chelonii

turtlesnailhaikuchallengeI wrote this haiku in response to a Ronovan Writes Haiku Challenge (if you don’t know about these, I do recommend them) almost two years ago – and it is amazing to me that it’s been that long. But it is still one of my favorite haiku I’ve written, as it satisfies the science nerd inside of me, so I am reposting it! The challenge words way back then were “Snail” and “Turtle” and the first thing I thought of was that they both have shells, albeit made of very different materials. “Molluscs” and “Chelonii” are the taxonomic Orders of snails and turtles, respectively. Poem and photo (one from a long ago trip to Sequoia National Park) by me. Have a wonderful Friday!

Excerpt Thursday – Ash Wednesday – Eliot

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Although Ash Wednesday has passed, we are still in the midst of the major spring religious holidays, with Orthodox Easter and Passover yet to come. Thus this heavily allusion laden and symbolic T.S. Eliot poem, which is widely summarized as describing the struggle between disbelief and faith, can still be considered timely. This poem was the first major piece written after Eliot’s official conversion to Anglicanism in 1927 and it marks a definite change in his poetry, evidence perhaps of the change that was wrought in him by his newfound faith. You can read the entire poem here, although I think it is even better to listen to Eliot read the poem himself (click here!). For a much more psycho-analytical/biographical take on the poem, The Guardian featured an article on it in 2014 – you can find that here.

Due to a schedule conflict, this is the first “Excerpt Thursday” I have done – after this week, I hope to have this type of post come back to rest on Wednesdays. Photograph and composition by me. Have a great rest of your week!

This Poetical Life – A Remembrance for Dr. Amir D. Aczel

On November 28, 2015 Dr. Amir D. Aczel, acclaimed mathematician and bestselling author of more than a dozen books on science and math, passed away unexpectedly. I have read two of his books, Why Science Does Not Disprove God and Finding Zero, and I would heartily recommend both books.  Dr. Aczel had a very rare skill: he had the ability to translate complex and abstract scientific ideas into engaging and accessible stories for a general audience. The world needs scientists like Dr. Aczel – willing and able to make science available to everyone – more than ever.

Not only that, but Dr. Aczel was a kind and thoughtful person who took the time to personally respond to fans and readers. And this is something I know firsthand. Over a year ago, only a few short months into my blogging adventure here on Illustrated Poetry, I wrote my first post about “found poetry.” In particular I was discussing the definition that had been advanced by the poet Ronald Gross: ‘”Found Poetry”  typically preserves the words as they originally appear, but may rearrange them into lines to “bring out their poetic quality.”‘ I was in the middle of reading Why Science Does Not Disprove God by Dr. Aczeland one passage in the book had struck me as found poetry and so I included this rearrangement and pairing of his words with one of my photographs:

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Later that day, Dr. Aczel himself wrote a comment thanking me! I was so surprised and thrilled – I called my partner over to the computer and was shouting “Look, look, I can’t believe it – LOOK!” I was truly touched that he not only took the time to read that post on my tiny little blog floating out there in the vast ocean of the internet, but he also paused to write a kind note. It was incredibly encouraging and I have never forgotten it. Thank you again, Dr. Aczel. Feel free to head over here to read the full original post, “This Poetical Life.”