Month: April 2025

White Pebbles Haiku Group , Autumn 2025

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Thank you to  the Australian Haiku Society  for publishing our update and to Gwen Bitte  for her summary of a very warm Autumn Ginko at the Edogawa Gardens in East Gosford.

White Pebbles Ginko Autumn 2025

On Saturday March 15, together with esteemed founder and convener, Beverley George, White Pebbles members, Marilyn Humbert, Kent Robinson, Colleen Keating, Michael Thorley and Gwen Bitti gathered at the Edogawa Commemorative Gardens in East Gosford for their autumn meeting. Apologies were received from Pip Griffin, Maire Glacken and Samantha Sirimanne Hyde. Following coffee and a chat at the café, we agreed  to continue with Kent Robinson’s suggested theme from summer — Waterfall. Members then headed out on their ginko.

The strolling type gardens, filled with sunshine and neatly pruned greenery, offered harmony. Children played while ducks bathed and flapped wings or waddled around the gardens. The ever-present koi swam together, surfacing with gaping mouths. The last of the pink lotus blooming added an elegant touch to the pond. Cascading mini waterfalls and quacking ducks added a lively blend to the gardens. The wisteria walk extended a peaceful path and, although there were no blooms, the vines offered cool respite from the heat and a place to reflect. Meticulously raked patterns of white pebbles provided a serene visual element, inviting contemplation.

Following our ginko, we revealed our evocative and insightful waterfall haiku, in a private room. Each poem, while focused on the same feature, brought a unique perspective, capturing the varied sounds and elements of the falls and surrounding area. Members workshopped and gave measured and useful feedback on poems. In addition, individuals shared a few of their newly published haiku, as well as poems on something that recently surprised and delighted. Marilyn encouraged us to enter more competitions. She also read a quote on haiku by Japanese author and haiku poet, Santoka Taneda, 1880 -1940 and enlightened us that he was the originator and part of the free-form haiku movement.

Our joyful meeting concluded with our favourite photographer, Debbie Robinson,  capturing our smiles.

Members who had time stayed on to enjoy lunch together at the café. We departed with fond farewells until our winter meeting.

L to R: Colleen Keating, Kent Robinson, Michael Thorley, Marilyn Humbert, Beverley George and Gwen Bitti

 

The nightmare Sequence : Holding space humbly and with mercy for the injustice of our times. by Colleen keating

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The Nightmare Sequence is a searing response to the atrocities in Gaza and beyond since October 2023. Heartbreaking and humane, it is a necessary portrait of the violence committed by Israel and its Western allies.

Through poetry and visual art, Omar Sakr and Safdar Ahmed capture these historic injustices, while also critiquing the role of art and media – including their own – in this time. Born of collective suffering and despair, their collaboration interrogates the position of witness: the terrible and helpless distance of vision, the impact of being exposed to violence of this scale on a daily basis, and what it means to live in a society that is actively participating in the catastrophic destruction of Arabs and Muslims overseas.

With a foreword by Palestinian American poet George Abraham, The Nightmare Sequence is an insightful work of testimony that also considers how art is complicit in Empire. This transcendent book invokes the power of poetry and art to shift hearts and minds; it will serve as a vital record in decades to come.

With profound love and deep sorrow, paper and ink, words and images, Omar Sakr and Safdar Ahmed have created the story of our time. Each page of The Nightmare Sequence presents a provocative offering.

Do we read, look and think?

Do we experience anger and shame?

Do we feel the tenacity of the people of Gaza?

Will we remember their dead?

Will we condemn the killers?

Or will we move on?

Move away and seek the sunshine?’

Tony Birch

 

This is one of the most profound and transformative creative projects I’ve ever encountered: I felt both completely devastated and completely renewed by it. Birthed from and through a genocide, The Nightmare Sequence is an astonishingly original collaboration by two artists who are committed to the intimacies of humanity, the details of injustice, and uncompromising truth-telling. In a world that has rejected the Arab as being worthy of life and dignity, read this book to be reminded of the generosity and love of artists who insist on bearing witness to the trauma and humanity of Palestinians.’

The Weekend Australian on The Lost Arabs

‘In this collection Sakr reveals himself to be that rare beast: a poet with something to say and the means to say it. This is a book of poetry that surges and whispers and shouts and demands to be read in a sitting.’

The Guardian on The Lost Arabs

‘Thrilling … It is rare for such a collection to be a page-turner but [Sakr’s] poetry demands to be read, digested and re-read soon after.’

NSW Premier’s Literary Awards judges on Still Alive

‘Extraordinary … Ahmed’s work stands out as an example of brilliant storytelling created with and through community, a labour of generosity, and love. It is an unflinching critique of policy and discourse that demonstrates the power of art.’

The Age on Still Alive

‘Arrestingly powerful … Sensitive, heart-breaking, stippled with dark humour, it’s hard to imagine a more potent indictment of Australia’s immigration detention, or a clearer call to change it.’

 

The Ocean is Calling for Gemma by Colleen Keating

colleen Poetry

 

 

The Ocean is Calling 

the sea

cool   calm  caressing  

ebbing into the sand

tickling my toes

my happy place

 

 

 

from dolphin dancing by Colleen Keating

bewitched in
hypnotised out
carefree

lightness of the sea
diving rolling floating
shooting the waves

 
synchronised
dolphin dancing
delightfully
caressing the waves

timeless
like children at play
in sea-scented breeze
comes a new dolphin dream

from another day by Colleen Keating

there is a touch of the transcendent

on the horizon today    the sky spreads 

like the sound of a symphony    and shadows

the deep slate of sea  with its surge

        of rolling energy   tufts of crested foam

 and sweeps of spindrift thrown in the air like hands of praise

from my poem  another day

— it’s a sonnet and the very last “Sonnet to Orpheus”

Let This Darkness Be a Bell Tower

Written by Rainer Maria Rilke

TranslatedJoanna Macy

Quiet friend who has come so far,

feel how your breathing makes more space around you.
Let this darkness be a bell tower
and you the bell. As you ring,

what batters you becomes your strength.
Move back and forth into the change.
What is it like, such intensity of pain?
If the drink is bitter, turn yourself to wine.

In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.

And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.

Sonnets to Orpheus II, 29

Thank you to Krista Tippitt for  her inspiring website ON BEING for this wonderful reminder of quiet peace.

 

Poet’s Corner, InReview compiled by John Miles

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Poems: My Days and Return From Eden

This week’s Poet’s Corner features poems from Colleen Keating and Richard Clarke.

CJ

Compiled by

John Miles

Apr 03, 2025

My Days

by Colleen Keating

 

These words are not about the sea

its white froth spraying wildly

into a silver sky and yesterday

shining with the glint of gems

their twinkle tapping my forever breath.

A sea that swirls at the rock edge

undermining the cliff grain by grain

sometimes rock by rock

that takes greedily and some days

gives, a shy curl to the beach 

 

They are about the days of this past week

elusive as the scuttling mud crabs, at my feet.

 

Return From Eden

by Richard Clarke

 

Shoulders slumped at the wheel while

stars illuminate the road ahead,

across the dry paddocks lie

the lights of the homestead.

 

Sprawled across the cracked back seat

twin sons verge on slumber,

drained by the shouts and shoves

of a company of cousins.

 

Carrying the boys indoors

their parents share a smile,

celebrate a rare day’s delight

amid long slow months of drought.

 

 

Colleen Keating and Richard Clarke are members of Sydney’s Pennant Hills Poets Group.
Bio notes for them can be found with their previous Poet’s Corner appearances on 14 March and 28 February.

Poet’s Corner, InReview compiled by John Miles

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Poem:   Seduction

This week’s Poet’s Corner contribution from Colleen Keating

looks at one of the masterpieces of modern art.

CJ

  Compiled by

John Miles

Mar 13, 2025, updated Mar 13, 2025

Seduction

bathers in naked strokes of light

pose

unburdened

 

I hear saplings crack in their play

and laughter as they lounge

in lusty rhythms of flesh

against blue –

Cezanne’s illusion of reality

 

here loss… blur of grief

is an enigma

free with the bathers

caught in beauty

immersed

in their unfinished form

suspended from meaning

 

escape for the day

I linger sheltered

under his chestnut tree

 

The Bathers, Les Grandes Baigneuses, Paul Cézanne

 

Colleen Keating is a Sydney poet who has published four collections of poetry, including The Dinner Party: A poetic response, and two award-winning verse novels in Hildegard of Bingen: A poetic journey and Olive Muriel Pink: her radical and idealistic life. Her new poetry collection Ring With the Bells, is due in mid-2025. Her books are available through Adelaide’s Ginninderra Press.

Editor’s note: readers may like to refresh themselves regarding the story of Cézanne’s painting The Large Bathers, considered one of the masterpieces of modern art, that was still unfinished after seven years at his time of death. Then there are his multiple works of chestnut trees, based on those of the Cézanne family estate in Aix-en-Provence.

 

Icon of Hildegard of Bingen brings my story alive once again by Colleen Keating

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Icon Of Hildegard of Bingen created by Iconographer Kevin  Dilks. ( Brother to my friend Julie Thorndyke).

Thank you Kevin. It was a most beautiful gift to receive this icon . It took me back into a contemplation with Hildegard.

I played my CD “Feather on the Breath of God “as I took time to  gaze on Kevins icon, allowing myself to be lost in it.

Hildegard’s eyes  are beautiful. They are lowered in her humble way. They are  focused  on scribing her musical notes and creating poetry to sing, and  I feel those eyes are showing  her mind is singing as she notates.

The feather has the double meaning of the quill for her scribing and the reminder for us that she calls herself “The Feather on the breath of God ”

From my poem of the same name,  pgs 57-58, a young  Hildegard races in from the field, from picking herbs for Jutta to  prepare the tonics  for the sick , Hildegard exclaims,

Jutta, Jutta, she calls
it is so beautiful.
I see the Light and beyond to the heavens, 
not as in ecstasy but with my eyes wide open.

I want to express myself,
I feel so blessed.

She plucks a feather
from under her coarse, homespun cape,
and look . . .  a gift. I know there are always feathers,
but this was special, as I watched it drift,
I felt a ‘yes’ to life.
Ah, I am a feather on the breath of God.

She turns both hands in the air,
eyes to the heavens,
a twirl of gratitude,
a dance of light.

The words Hildegard is writing in Kevin’s icon are the uplifting promise for her women living and working in their Abbey at Rupertsberg.

. O vis eternitatis                                                              O power within Etenity
que omnia ordinasti in corde tuo,                                All things you hold in your heart
per Verbum tuum omnia creata sunt                           And through your word were all created
sicut voluisti,  et ipsum Verbum tuum                        according to your will.

 

And finally in my meditation with Kevin’s icon, I paused on the golden halo. Many icons use this to portrait a holy person. Several thoughts came to mind. To think Hildegard was called a saint at her death by her communities and by the local people, east and west, all along the Rhine River wherever her influence had reached in the 12th century.* and Rome rejected their request for Sainthood. Three hundred years on the Abbess of the Benedictian Community applied for her to be made a saint again and it was again  rejected by the Vatican. When the Abbey asked later, the paperwork had been lost ! And so she was lost to the world for hundreds of years . Only at the beginning of the  late 50’s  and early 60’s,  the Environmental Movement when Mother earth was beginning to be in pain from the damage done to her, did a Dominican Priest Father Matthew Fox rediscover her and had her writings translated finding her an Environmental Mystic.

Hildegard  had been forgotten for 900 years !!! and then others began to discover her music, her paintings , her poetry and bring her back to our world.

If ever there was a time for her to speak it is now. Of course the Vatican saw her being a spokesperson for so many and the German pope canonised her in 2012 not only canosied her  but made her A Doctor of the Church. To me it was too  late. However in a way, I guess it  introduces her to another layer of people in the Churches and hence increases her influence, so that is good.

Finally i traced, in my mind the Infinity symbols that are softly embedded in the halo. The Infinity Symbol (A Christian symbol of God’s eternal and infinite nature) I wonder if the fish (Ichthys symbol) was an early attempt to show this, before a Mathematician claimed it firstly in the 16th century.

*(Many Monasteries and Abbeys bought her music which encouraged their communities . By the way this is one of the ways that Rupertsberg received money so her Scriptorium was invaluable as she taught her women to dictate and scribe the many works that she sold. )

“With music, we have the memory of paradise lost”- Hildegard von Bingen”.

Hildegard created over 77 unique songs. She considered music the point where heaven and earth meet. She believed harmony to be more than the combination of voices and instruments,. For her it represented the balance of body and soul, the interconnectivity of humanity with the universe. 

Hildegard composed secular music, sacred polyphony, hymns, and chants. She used music and art to express her visions; in fact, it has been said that Hildegard composed in pictures and painted with words. 

Oliver Sacks, the great neuroscientist and admirer of Hildegard, observed that humans naturally keep time to music, using hypnotic sounds to enter trance-like states of meditation. Further, music has been found to contribute to synchronicity between the two brain hemispheres, resulting in more effective whole-brain thinking.

Hildegard used music as a way to a third state of consciousness. She did not express it in this 21st  century vernacular but Hildegard knew its importance for her women, physically, mentally, emotional and spiritually. Some of her music written  for the eight breaks in the Benedictine Day  helped with breathing and well being. Severl pieces have notes that rise to high A which can give a sense of transcendence  similar to other religions like the  Sufi’s  Whirling Dervish. *

Along with sleep and dreams Hildegard viewed music as the key to opening a third state of consciousness, a trance-like state. Her firm mooring in faith, combined with openness to the metaphysical, enabled Hildegard and her contemporaries to use music as an auto-suggestive relaxation technique. This meditation was based on the belief that music provides the human organism with positive influence in the healing processes.

To think that her music was banned towards the end of her life .** In the winter of her days she inspired her women in their silence under pain of their Abbey being destroyed :

Let us find purpose in our day,

Hildegard counsels after matins

find music in the fields

in the sun’s warmth,

in glints of gold on boughs of trees.

Rejoice in the aroma of the damp earth

and viriditas.

Spring is at the node of every greening branch.

May even the wind be our song.

. . . . . . and in the silence they learn,

in Hildegard’s words,

to search out the house of their hearts. 

 

  *  Whirling Dervishes is a form of physically active meditation which originated among Sufi groups, and which is still practiced by the Sufi Dervishes in some places.

** From the poems Struggle in Exile  pg 210  and Endurance  pg 212 in Hildegard of Bingen A Poetic Journey by Colleen Keating 2019©️

 

 

Hildegard today at the Abbey and the ruins of her original Abbey at Disibodenberg

Hildegard composed secular music, sacred polyphony, hymns, and chants. She used music and art to express her visions; in fact, it has been said that Hildegard composed in pictures and painted with words. 

Oliver Sacks, the great neuroscientist and admirer of Hildegard, observed that humans naturally keep time to music, using hypnotic sounds to enter trance-like states of meditation. Further, music has been found to contribute to synchronicity between the two brain hemispheres, resulting in more effective whole-brain thinking.

 

Ruins of Disibodneberg in Germany . Hildegards first Abbey.

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