Dunera Boys – exhibition at the State Library of NSW after a visit by Colleen Keating

 

 

The Dunera Boys

Although born and educated in Australia and a valued dairy farmer in the Bega Valley on the Far Such Coast  of NSW my uncle Augustine Behl, a young man in his early thirties  was detained at the beginning of World War 2 ,  as he was of German dissent.  He was declared an alien in his own homeland . However not  rounded up and imprisoned with hundreds of other men because he was essential for the food production line as a daily farmer.  Rarely did he come into town . Tuesdays my aunt and two cousins came in for shopping and came to Nannas where we stayed in the Christmas holidays.

When he was in town, it was to sell and buy at the Sale Yards. However I am not sure if he was forbidden in town socially or if he chose not to come in.  He was a very silent man and spoke few words to anyone.

It was at his property that I heard my first classical record and saw a record playing. It was Mario Lanser singing The Student Prince and I was blown away. His parents had brought the music from their homeland. and at the time it was the most beautiful thing I had ever heard. In a way I kept looking up, thinking it was coming from heaven.

Hence my interest in the story of the Dunera Boys  a very interesting exhibition, curated by Louise Anemaat, Seumas Spark and andrew Trigg presently at the NSW State Library. 

 The Dunera Boys  

They have become know as  the Dunera Boys they sailed to Australia on the Dunera. 

The story goes that when Winston Churchill came to power in Britain in May 1940, one of the first decisions of his government was to arrest, intern and ultimately deport thousands of ‘enemy aliens’ to Canada and Australia for fear that they might secretly help to orchestrate an invasion of Britain. On 10 July 1940, the British troop ship HMT Dunera departed Liverpool, Britain, with about 2120 male ‘enemy aliens’ on board. Many of the internees were Jewish and had fled to Britain as refugees from Hitler’s regime. Others had been there for years and had made their lives there. Though the Dunera internees did not know it when they left England, they were destined for Australia.

 

In powerful artworks, internees convey the experience of internment rather than the reality of its lived experience. In this artwork by Georg Teltscher, ghostly hands seem to be disappearing in an unsettled ocean, or rising up from a foaming landscape.

Conditions on the Dunera were dire. 

The ship was grossly overcrowded,

men crammed into appalling quarters.

Toilets overflowed, poisoned the stale air. 

British soldiers guarding the boys

treated their charges with brutality, 

abusing them 

stealing their possessions. 

Throwing their bags overboard

The Dunera docked in Sydney 

The internees, herded on to trains 

ended in the remote, rural town of Hay.

In drought, everywhere was dry 

flat and full of dust. 

Relentless heat and swarms of flies 

added to the internees’ sense of dislocation. 

So unfamiliar was the landscape to European eyes

that many labelled the Hay plains a ‘desert’. 

To try and make sense of the world 

and their place in it they created friendships, 

schools of learning , 

different classes were set up

they educated each other.

Drawing and art were lessons  that endured

and is much of our evidence today.

Music played a big part . 

The people of Hay rounded up musical instruments. 

Today for us this is a reminder that coping 

and surviving is about intellectual engagement 

with place almost as much as it is about physical needs.

Art has long been an outlet to communicate when seeking to understand and give voice to what is not easily put into words. It reminds us that forced displacement is both a historic and a contemporary story, whether the result of war genocide, natural disaster, colonisation, whether on racial, ethic, political or religious grounds or increasingly because of climate change. 

 

IN HARD TIMES IT IS STILL ONE STEP AFTER ANOTHER. By Colleen Keating

 

The magnet on the fridge door shines at me every-time
one step after another
and it has saved me through many times
where my steps have faltered
in the darkest nights where you fear the next step
in thick storms where the rain pelters piercing your very skin
in coldest times when your bones seem frozen
and now you see the words today
and only a mountain looms at you and it hurls rocks
on the way you try to obey and clamber and then you realise
you are not the only one attempting to go on.
Colleen

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********** A few strs shining brightly:***********
Lindsay McLaughlin from Friends of Silence
Ellen Bass poet
Christine Valters Paintner Abbess
Shakespeare
David Whyte
Waymakers

We must remind ourselves that millions of human beings throughout history have lived through worse political situations and still managed to make art, and find joy, and share meals and resist despair, We can do that . moving always towards wisdom.
In fact, cover us all in a wisdom that is not available in memes, hot takes, social media fake news and mis communications and the continuous news which sucks us down a rabbit hole. Some people thrive on chaos and can use chaos as smokes and mirrors .

Let us remember to breathe often, drink water and be always grateful for the nature and beauty around us every day.

 

THE WAY IS AWKWARD

By the river it is cool and gray at last after a night of longed-for rain, however intermittent. Mist this morning clung to the trees, but it is gone now, leaving the caress of quiet moist air. The river is low, the banks brown, rock outcroppings breaking the water; but yet it flows, an ancient witness; as is the moss, growing up the north side of the oaks and box elders and sycamores, whose branches, sparse with brown and yellow leaves, form a wild weave against the pewter sky.  A heron, guardian of edges, rises from the mud and glides in a wide arc to other shore.

I am here because the rocks and arrows hurled at all I have known, and all that I love, reached a new level of ferocity last week, and it seems that the speed and strength of the barrage will be relentless. Even after years of preparatory soul work, suddenly I can barely breathe. I thought the humbling might continue to creep toward us, with some mercy. Instead, the gods of mayhem spurred the horses.

In the wake of this, words have swirled: words to soothe, advise, comfort, inspire. I have passed them on, shared them; I am grateful for them all. But what I need may not be the call to march forward, to align with the highest benchmarks of humanity, to hold fast and to take skillful action, to neither wince nor flail. I need refugia and the wisdom of ancient beings like a river, trees, and moss.

Kathleen Dean Moore speaks of refugia in her book Great Tide Rising. Refugia are pockets of safety, tiny coverts where life hides from destruction, secret shelters out of which new life emerges. Refugia are why Mount Saint Helen’s mountainsides are lushly covered with grasses, prairie lupines, and alders, despite the eruption that erased 1,300 feet of the mountain and burned 230 square miles of forest.

Refugia are small and hidden and full of darkness, but they are potent. They may be characterized as sanctuaries, but they are cauldrons, wombs, incubators. They are everywhere: in a poem, the eyes of a friend, a preserved landscape, a permaculture garden, a prayer in the wild.

So I have come to the river, the stone cliffs, the moss growing on those old trees. Robin Wall Kimmerer writes, “Mosses, I think, are like time made visible…The mosses remember that this is not the first time the glaciers have melted…”, or a political system has failed. Kimmerer points out that mosses document a passage of time that is not linear. “…the knowledge we need,” she says, “is already within the circle; we just have to remember to find it again…”

There are beings on this planet older by far than elections and democracy, older than civilization, older even than the human imagination. They are here to turn to, to help us begin to breathe again. Four hundred fifty million years ago mosses traveled from the primordial waters and began a great experiment in evolution, as Kimmerer writes, “an experiment of which we are all a part, whose ending is unwritten.”

Unwritten, and unknown. Some would say that is the definition of hope, an invitation to act out of our places of refugia, out of the wisdom of mosses, rather than reaction to the certainty of the dystopia we think we know has arrived.

Bayo Akomolafe says, “the way is awkward, not forward”. Perhaps that is the challenge: To stumble around, feeling for the opening of the path that is hardly a path at all, is many-branching, possibly strange, and made by walking. To listen to wisdom and voices beyond the scope of human intelligence, to other ways of knowing rising from other places of power, to tune to the rhythm of the river and the whispers of moss.

 

 

 

 

 

 

 

 

The Thing Is

to love life, to love it even

when you have no stomach for it

and everything you’ve held dear

crumbles like burnt paper in your hands,

your throat filled with the silt of it.

When grief sits with you, its tropical heat

thickening the air, heavy as water

more fit for gills than lungs;

when grief weights you down like your own flesh

only more of it, an obesity of grief,

you think, How can a body withstand this?

Then you hold life like a face

between your palms, a plain face,

no charming smile, no violet eyes,

and you say, yes, I will take you

I will love you, again.

Ellen Bass

by Eleanor Keating-Jones age 8  April 2024

A Note from your Abbess

There is much uncertainty and unknown right now. Many of us are in deep grief and I encourage you to bestow lavish hospitality on all of your feelings – let your rage, sadness, despair, confusion, and more have space in you. Move your body, let her speak its wisdom, and give yourself the gift of as much rest as possible.

 

What I do know is that our commitment to a contemplative path does make a difference. Keep showing up with presence to what is real and true. Cherish what is beautiful and kind. Commit to the slowness and centeredness that is its own kind of resistance and from which deep change arises. Know that the ground is Love and we are each radiant sparks of the divine. And act on behalf of the liberation of all beings from these touchstones.

 

What I also know is that our commitment to creativity is vital. We must continue to cultivate our wild imaginings. Dance and write poems and songs that help us to lament and hope, to make space to dream and be, to let our visions of what is possible take even deeper root in our hearts. This is our life force at work in partnership with Spirit to bring about a more beautiful world.

 

And the third thing I know is that community is key to all of this. Reach out to a soul friend; gather in small groups to grieve and laugh. Extend the most exquisite kindness to the people you encounter in public spaces, especially those you experience as“other.” Ask for the blessings of your ancestors who endured their own suffering and struggles. Stand in a grove of trees or on the banks of a river and feel your kinship with all creation. And of course, gather with your fellow dancing monks in our programs when possible. To know yourself as not alone, but intimately connected to the delicate and intricate web of all living beings is to claim your power and to live in hope.

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FROM WAYMAKERS

Yesterday, I walked with one of my dearest friends. We did what I imagine many of you are doing after the November 5th elections: reaching out, checking in, feeling the weight of not knowing where our next step will land. It seems clear that, whatever that step might be, it needs to be taken together. So, we locked arms and walked into the sacred, uneasy threshold—a place where one foot is lifted in resistance and resolve but hasn’t quite touched down. This act, balancing on the edge of action, is like a yogic stance, holding our ground in discomfort, wondering when we’ll feel the relief of solid ground again.

This is statio—the ancient, mystical practice of pausing intentionally in the in-between to create sacred space. Statio is the pause that marks a threshold, a moment both of waiting and readiness. It invites us to cultivate hope, courage, and resilience by resting right there in the gap, to find strength in stillness, to gather ourselves in this space between breaths, even when exhaustion tempts us toward fear. And this pause? It’s a place beyond our control; crossing through it may take longer than we ever expected. *Statio* divides one time from another, one ground from the next, and yet, the actual crossing may be guided by forces beyond us, by something holy holding us back until the moment is ripe.

How long can we dwell in statio, with one foot suspended, unsure of where it will land? I don’t know how long. But I know we can hold it longer when there are hands and shoulders to lean on. Who are you holding onto during this collective statio?

As my friend and I walked, we were pulled to a stop by awe: the blue sky’s vast embrace, the proclamation of yellow leaves, and the way the trees’ canopy offered space to one another. This phenomenon—crown shyness—is a fitting metaphor for statio, a sacred space honoring both separation and connection. Just as trees leave intentional gaps between their crowns, letting light and air breathe through the canopy, statio invites us to create a pause between our thoughts, actions, and encounters. These intentional spaces, like the quiet channels between branches, honor the life force within each moment, allowing renewal, clarity, and shared energy to circulate freely, allowing grief to have space to move, and to not rush towards the next agenda and action.

In both statio and crown shyness, there’s a quiet reverence for boundaries that actually deepens interdependence. Trees, by keeping respectful distance, support an ecosystem that nurtures both individual growth and communal vitality. Likewise, when we create pauses in our lives, we make space to connect more deeply to ourselves and to each other.

In my own personal seasons of statio, I find myself drawn to practices that root me deeply in the earth. These grounding rituals connect me to place, bringing me back to the particulars of my own environment and reminding me that small, intentional acts can ripple outward with profound impact. This is the time for nature mandalas, for wandering in wild spaces (urban wilds count too!), for brewing forest tea from what’s nearby, for returning to a quiet sit spot, and for practicing sacred phenology.

These simple, earth-centered practices offer a way to be present in this communal time of statio, each one anchoring us in the now, helping us listen, and encouraging us to become more attentive to the unique rhythms of life within our particular landscapes. These rituals will offer profound guidance when we take our next steps.

 

 

 John of Gaunt speech in Richard 11. from Shakespeare

His rash fierce blaze of riot cannot last, 

For violent fires soon burn out themselves; 
Small showers last long, but sudden storms are short; 
He tires betimes that spurs too fast betimes; 
With eager feeding food doth choke the feeder: 
Light vanity, insatiate cormorant,
Consuming means, soon preys upon itself.

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And Parker J. Palmer says:

Trust has been one of the big losers in this era of American politics—and trust is what we must restore if we are to reweave and transform the tattered fabric of our common life. So let’s begin close in, with people we know to be trustworthy. And let’s keep expanding the circle to those who “stand in need” the way we do.

For the past three days, I’ve had a chance to do just that with groups ranging from 4 to 25 to 1,000. It’s been healing and empowering for me.

Slowly, slowly, I’m finding ground beneath my feet again. Slowly, slowly, in the lives of my friends, colleagues, and strangers I’m seeing the bright stars V.P. Harris talked about in her concession speech—good people doing going work against stiff odds—stars that are best seen against the backdrop of a midnight sky.

David Whyte has it right: turn off the noise of what people call “the news.” Tune in to the news of the human heart where ground and guidance for the journey can always be found. Exercise the muscle called trust whenever and wherever we can—and then reach out in trust to one more and one more and one more.

No one is going to rescue us, so let’s start rebuilding a community devoted to the common good from the inside out and from the ground up. We’re all hungry, and we can feed each other.

[David Whyte’s books are at http://tiny.cc/0q7uzz. My 10 books are at http://tiny.cc/r3gtzz.]

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Kamala Harris:

“Good afternoon. Thank you all, thank you, thank you, thank you, thank you. So let me say, and I love you back. And I love you back. So let me say, my heart is full today. My heart is full today. Full of gratitude for the trust you have placed in me, full of love for our country and full of resolve. The outcome of this election is not what we wanted, not what we fought for, not what we voted for. But hear me when I say, hear me when I say, the light of America’s promise will always burn bright. As long as we never give up, and as long as we keep fighting.

To my beloved Doug and our family, I love you so very much. To President Biden and Doctor Biden, thank you for your faith and support. To Governor Walz and the Walz family, I know your service to our nation will continue. And to my extraordinary team, to the volunteers who gave so much of themselves, to the poll workers and the local election officials, I thank you, I thank you all.

Look, I am so proud of the race we ran and the way we ran it and the way we ran it. Over the 107 days of this campaign, we have been intentional about building community and building coalitions, bringing people together from every walk of life and background, united by love of country with enthusiasm and joy in our fight for America’s future. And we did it with the knowledge that we all have so much more in common than what separates us.

Now, I know folks are feeling and experiencing a range of emotions right now. I get it. But we must accept the results of this election. Earlier today, I spoke with president-elect Trump and congratulated him on his victory. I also told him that we will help him and his team with their transition and that we will engage in a peaceful transfer of power. A fundamental principle of American democracy is that when we lose an election, we accept the results. That principle, as much as any other, distinguishes democracy from monarchy or tyranny. And anyone who seeks the public trust must honor it.

At the same time, in our nation, we owe loyalty, not to a president or a party, but to the Constitution of the United States, and loyalty to our conscience and to our God. My allegiance to all three is why I am here to say, while I concede this election, I do not concede the fight that fueled this campaign. The fight, the fight for freedom, for opportunity, for fairness and the dignity of all people. A fight for the ideals at the heart of our nation. The ideals that reflect America at our best. That is a fight I will never give up. I will never give up the fight for a future where Americans can pursue their dreams, ambitions and aspiration is where the women of America have the freedom to make decisions about their own body and not have their government telling them what to do. We will never give up the fight to protect our schools and our streets from gun violence. And America, we will never give up the fight for our democracy, for the rule of law, for equal justice, and for the sacred idea that every one of us, no matter who we are or where we start out, has certain fundamental rights and freedoms that must be respected and upheld. And we will continue to wage this fight in the voting booth, in the courts and in the public square. And we will also wage it in quieter ways, in how we live our lives, by treating one another with kindness and respect, by looking in the face of a stranger and seeing a neighbour, by always using our strength to lift people up, to fight for the dignity that all people deserve.

The fight for our freedom will take hard work. But like I always say, we like hard work. Hard work is good work. Hard work can be joyful work, and the fight for our country is always worth it. It is always worth it. To the young people who are watching, it is, I love you. To the young people who are watching it is okay to feel sad and disappointed, but please know it’s going to be okay. On the campaign, I would often say when we fight, we win. But here’s the thing, here’s the thing. Sometimes the fight takes a while. That doesn’t mean we won’t win. That doesn’t mean we won’t win. The important thing is don’t ever give up, don’t ever give up, don’t ever stop trying to make the world a better place. You have power. You have power and don’t you ever listen when anyone tells you something is impossible because it has never been done before. You have the capacity to do extraordinary good in the world.

And so to everyone who is watching, do not despair. This is not a time to throw up our hands. This is a time to roll up our sleeves. This is a time to organize, to mobilize, and to stay engaged for the sake of freedom and justice and the future that we all know we can build together. Look many of you know, I started out as a prosecutor, and throughout my career I saw people at some of the worst times in their lives, people who had suffered great harm and great pain and yet found within themselves the strength and the courage and the resolve to take the stand, to take a stand, to fight for justice, to fight for themselves, to fight for others. So let their courage be our inspiration. Let their determination be our charge.

And I’ll close with this. There’s an adage an historian once called a law of history, true of every society across the ages. The adage is only when it is dark enough can you see the stars. I know many people feel like we are entering a dark time, but for the benefit of us all, I hope that is not the case. But here’s the thing, America, if it is, let us fill the sky with the light of a brilliant, brilliant billion of stars. The light, the light of optimism, of faith, of truth and service. HU (Howard University). And may that work guide us, even in the face of setbacks toward the extraordinary promise of the United States of America. I thank you all, may God bless you and may God bless the United States of America. I thank you all.”

 

 

 

 

Reflecting on September 2024

 

A full spring equinox moon holds its perfection just for a moment and we clasp hands North and South equal day and night, equal sharing of light and dark in a beautiful albeit fickle world.  

out the window  
I look up at the spring moon 
and looking down 
think of my family 
ten thousand miles away

and with war raging in Ukraine, Sudan and the Middle East  spiralling out of control with no one power enough to stop tyrants of Netanhaou and Putin. as the  calls of the International Community  falls on the deaf ears of tyrants.

for the children
wherever their young eyes look
fear meets them
as fire flares from the heavens
as their earth is charred black

a Mariupol cry 
‘they have turned our town 
into a dead place’ 

On a personal level it has been a sad and heavy –laden week  and I will share the grief of my week and my way through it all.

My dear  friend Jan who lovingly and couragously married earlier this year,  has let me know her  husband,  David has passed with his decision that the fight was becoming too hard  and slowly over days letting go’. 

My special friend and publisher of my books, someone who believed in poetry and writing and helped me get my words out into the world  Stephen Matthews, choosing to take control through VAD and planning the day and time to “to go gently into that great light”. 

 My friend Decima falls and breaks her humerus and shoulder and is in rehab.

My close school friend  Shannie,  her BP goes wacko and she falls, fractures her pelvis and now in heart ward,   A dear important person in my life suffering in marriage troubles.

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old age ~
its story fills me with grief
and fear
nature, poetry, music
bring back a feeling of youth

 

 

..

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Some of my redeeming beautiful experiences this past month

Our poetry appreciation  U3A group.   Michael and I prepared and presented  a Margaret Atwood Appreciation morning.

White Pebbles Ginko Spring Walk

 

Ethel Turner 130th Celebration of the first publication of Seven Little Australians

 

Mahler 4th and  selections from Strauss including Morgan Opus.27.No. 4 SSO ConcertConcert

“Of his friend, who was to outlive him by more than three decades, Mahler said: “Strauss and I tunnel from opposite sides of the mountain. One day we shall meet.”

 

.

Strauss  beautiful song

 

Nature Walk in the Kalkari Reserve part of the Bobbin Head National Park where where Michael and I wondered :

What if the trees could talk!

 

‘    

 

An hour of Classic Chinese Poetry  put on by the Chines cultural

Centre

as part of the Nanping Tea Culture Week in Australia.

An hour of Classic Chinese Poetry  put on by the Chines cultural
as part of the Nanping Tea Culture Week in Australia.

 

The MCA  Contemporary Art Museum

The main exhibition i spent time with , was an installation  called

‘Once Again  . . .(Statues Never Dies)

It interested me because it looked at artifacts from Africa   And spoke of the Colonial pilfering and made me reflect on my New Guineas story. I always see something that carches my eye and the sculpture  below  touched my heart.

In another exhibition I loved a shell sculpture  made of the Sydney Opera House

Now this sculpture, Shellwork (Sydney Opera House)   has extra meaning.

it is created by Esme Timbery and encrusted with thousands of shells. It is one of the largest shellworked models made by Esme.  The subject The Opera House  sits at Tubowgule/Bennelong Point is known as a location of great significence to Aboriginal people. Known as a place of important cultural gatherings for the local Gadigal people , the site was once occupied by a giant shell midden. Middens are mounds formed from the residues of communial life, and in coastal areas they include many shells, remnants of an abundant food source. The midden was a record of ongoing occupation going back thousands of years, the lost form now echoed in Timberlys sheeled model of the UNESCO World Heritage listed Building.

 

Celebrating the Life of Robert Gray with the launch of his new book Bright Crockery Days at the Sydney State Library. 

This was organised by Mark Tredenik and many poets got up and read Robert’s poetry. Sadly Robert is no longer able to attend functions.

 

Botanical Garden amble

                                                                

Concert with David Helkgott at the Avoca Theatre.

My friend offered us the tickets because she was unable to attend and so we drove up the coast after lunch shared with the Northerleigh group. It was an uplifting afternoon.

 

 

 

A day of celebration at ‘Woodlands’ Killara by Colleen Keating

A Day celebrating  the 130th Anniversary of Ethel Turner’s  Seven Little Australians.

The day began at 9am when we gathered at ‘Woodlands’ Killara to celebrate September 1894 when Ethel Turner received her first copy of Seven Little Australians. Woodlands a heritage-listed property was once home to Ethel Turner and where she penned this classic story. 

It was a wonderful spring day celebrating with speakers, with stories and research, with  re-enacting Ethels words, music, tours , games and activities.

The Society of Women Writers had a booth.   It gave us an opportunity to advertise the Society and to talk about writing and how Ethel was an early member of the Society. 

 Ethel Turner lived at a time in the late 19th century, when women would start earning recognition for their works and perhaps start to get their seat at the table alongside their male contemporaries more than ever before, even if there was still a lot of gatekeeping.

Albert and Eva Lin who bought the house in 2017 realised ‘Woodlands’ was included on the State Heritage Register  and they decided to learn more about Ethel Turner.

Realising althought her iconic novel was still available, Ethel herself had been largely forgotten, they immediately set about  to rectify that. In conjunction with local historians and the local council, Albert and Ava set about resoring both home and garden to their former glory days.  Although keen to modernise the home for their young family,  they have restored part of the house to reflect its 1890’s inspiration for Turner’s imagination including a library of her complete works .  As Albert says:

‘Woodlands’ has been around before I existed. It will be  around long after I cease to exist. As its present custodian, if i do not do this that I am doing, who else?

The celebration included a small fair, some rare books on display and some to buy,

some local musical presentation by local schools  a wonderful talk by our own Libby Hathorn (SWW) and by the Ethel Turner scholar  and children’s author, Abbey Lane.

Nude Woman Ascending the Staircase by Salvador Dali by Colleen Keating

 

A good thing about getting lost is you find the unexpected. This was our luck on our first morning in Singapore. We had studied the map to know we could walk out of our luxurious quiet hotel and down town to the Hop on Hop off bus depot. We looked forward to the walk after the long flight the day before and  seeing Singapore. We did not expect the chaos, the heat,  the rush and bustle , the noise, the complicated roads, the building sites and hence were quickly lost. That’s when I heard a fountain playing and noticed a calm square between towering building  and curiosiously we decided to investigate. 

 

Nude Woman ascending Staircase

We discovered  a haven of sculptures . Workers whisked past gobbled up by the buildings, locals hurried by heads down about their business. We, like the pilgrims we wanted to be rather than tourist, we looked, stopped  and enjoyed  the experience. That is when  Nude Woman  Ascending the Staircase  caught my attention.   I loved the paradox  of softness (the animal and hardness (the shell )  and the sculpure of the soft body of the female figure  climbing 
and the message of portraying helplessness by her body being headless was powerful for me.
It just blew my mind. I would like to say she climbed into a ceilingless sky 
but a canopy of unbroken glass was part of the building was obviously  in the way. 

There were quite a few other installations and scuptures  set up by the owner of the Park View Square set up as a tribute to elegance and humanity Parkview Group was established by the Hwang family,   Several embassies are on different floors and the Ground floor is a very popular baar which we did not get to see

nude woman ascending.jpg

Parkview Square is located in Bugis area. Singaporeans have dubbed it the “Gotham Building” because its dark, imposing design looks like it’s been conceived in Batman’s Gotham City.

I first visited this place a few years ago for drinks at the lobby bar. What intrigued me the most, is the fact that this building seemed rather out of place. It’s so sombre and opulent that I thought it only belonged in another era, a difference country. Looking around, you could feel the total devotion, an enormous sense of pride and perhaps even some self-indulgence (i say this with the utmost respect and envy) of its architects and designers, under a no-expense-is-spared commission of their visionary client, the late Mr. C. S. Hwang, founder and chairman of Chyau Fwu Group.

parkviewsq day time.jpg(Image source: parkviewsquare.com.)

Unlike many contemporary office buildings that emphasize the application of steel and glass in minimalistic fashion, Parkview Square (Year 2002) was built in the classic Art Deco* style, similar to the Chanin Building (Year 1929) in New York. The facade of this building is mostly clad in brown granite, bronze and lacquer.

(* Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. It combined modernist styles with fine craftsmanship and rich materials. Influenced by bold geometric forms and bright colors of the art movement then, it often draws inspiration from the exotic art of ancient China, Japan, India, Persia, Egypt and Maya.)

parkview square night view by meinhardt dot com.jpgThe night view. Image source: Meinhardt Singapore.

parkview square statues.jpg(Image source: Steve Taylor, flickr.com)

There are many statues and sculptures both outside and inside the building, here I will only highlight the more prominent ones. Let’s start from the top (shown in the above photo.) Actually, there is a story/urban myth behind these statues sitting atop the building which can hardly be seen from the ground level. If you take a look at the first photo in this post again, you will notice there are 2 diamond-shape buildings behind Parkview Square, which are The Gateway (Year 1990) designed by the world renowned architect I.M. Pei. (I’m a huge I.M. Pei fan, too. He just turned 100yr old this April!) However, many local Feng Shui masters speculate that the design of The Gateway is considered “bad luck” for any other buildings to be near it, because of its dagger-like appearance. People believe that it would “cut through” all the other buildings, and the tenant companies in their building will be doomed to fail (“cut to pieces”.)

So for many years, the area around The Gateway remained undeveloped. That is, until 2002.

In 2002, Park View Square was built, and it was specially designed in the classic Art Deco style to protect itself from the “daggers” of Gateway. The 8 gigantic statues of men holding a light ball in their hands, 4 of them standing on each broad side of the building’s crown, were crafted to “guard” Parkview Square against “bad luck.” Believe it or not, this story does show you that it’s not uncommon among Chinese property developers to consult their trusted Feng Shui masters before committing to a project.

crane.JPGThis photo is taken by me, so is the next one.

Now we have come to the ground level. Standing in the center of the plaza, facing the main building, you could see there is a statue of a golden crane with its head lifted, pointing towards the direction of mainland China. On the pedestal, a Chinese poem is written:

poem of crane.JPG

黄鹤楼 Yellow Crane Tower (Referring to Parkview Square)

故国旧有黄鹤楼 There is a Yellow Crane Tower in my homeland,
北望神州几千秋 Looking in the North direction (towards China) for many years,
黄鹤展翅飞万里 Yellow Crane spreads its wings to fly tens of thousands of miles,
伟哉狮城见鹤楼 The great Lion City (Singapore) sees this Yellow Crane Tower.

Pardon my plain and literal translation of this poem. It was composed by the late Mr. C. S. Hwang himself. This is the most personal and meaningful art piece at Parkview Square because of Mr. Hwang’s life experience. He was born in Teochew, China in 1926. During the Second Sino-Japanese War (1937-1945) he joined the Kuomintang/Nationalist Party (as opposed to the Communist Party) army as a reporter. After the Japanese surrendered in 1945, and the Communist Party won the Chinese Civil War in 1949, he retreated to Taiwan along with the Kuomintang army. While in Taiwan, Mr. Hwang started a construction business that became very successful, and he had since established himself as an influential property developer in Taiwan, Hong Kong, mainland China, France and Singapore. His company earned a reputation for top-end landmark projects that set new benchmarks for quality and innovation.

For someone who traveled extensively and lived in different countries, Mr. Hwang always had a longing for his hometown in China. This poem expresses his feelings deeply. Parkview Square was his final project, as he passed away 2 years later in 2004.

parkview square statues sun yat sen et al.jpg(Image source: Andrew Boyd, flickr.com) These are the bronze statues on both sides of the plaza. From left to right: Sun Yat-sen, Churchill, Lincoln, Plato. There are another 4 which are not shown here, they are Dante, Dali, Newton, and Chopin.

Mr. Hwang (and his eldest son George Wong’s) love for Dali’s art is quite evident as there are 2 sculptures by the Surrealist artist installed in the garden, and another 4 in the lobby. They’re part of George Wong’s personal collection. I like Dali’s paintings much more than his sculptures, to be honest. Because they are way more imaginative, expressive and magical.

snail queen dali.jpgSnail Queen (1974), by Salvador Dali. Bronze, 180 x 290 x 87cm. (Image: tsingapore.com ) I quite like how they digitally added a giant canvas behind to showcase each piece, eliminating background distraction.

nude woman ascending.jpgNaked Woman Climbing A Staircase (1974) by Salvador Dali. (Image: tsingapore.com )

dressed woman by botero.jpgThere is also a sculpture by Fernando Botero, Dressed Woman. (Image: Choo Yut Shing, flickr.com) It’s always pleasant to look at Botero’s distinctive voluptuous sculptures because in reality most people are attracted to slim bodies. There is another sculpture by Botero (titled Bird) in Singapore as public art, it’s installed outside UOB building along Boat Quay.

Ok, it’s time to go inside for a drink now!

atlas official photo.jpg(Image source: atlasbar.sg) The lobby is majestic! However, it’s never this bright. Even in daytime, it’s still pretty dark and chill indoor. Excellent ambiance! Very cozy and relaxing.

The newly renovated Atlas Bar is known for its very special champagne and gin collection, and it’s helmed by one of Europe’s leading bartenders, Roman Foltan, who previously worked at Artesian at The Langham, which is voted the World’s Best Bar four times consecutively.

My friends and I had enjoyed the cocktails very much, even though i usually prefer plain alcohol served as it is, or maybe just add water/ice.

atlas bar 3.JPG

Launch of Tintinnabulum by Judith Beveridge

Tintinnabulum  by Judith Beveridge

Tintinnabulum was launched by poet Audrey Molloy at Gleebooks on  a delightful warm winters Sunday afternoon. 25th August  2024.

It was done in a conversational mode. Audrey’s questions helped Judith to open up about her writing .

Firstly the title. Judith explained, it is always difficult to come up with an interesting title. 

Tintinnabulum  means ‘little bell’ in Medieval Latin . As a verb it refers to a  ring or sound like a small bell,  peal, ring, sound sonorously . eg the tintinnabulation of wind chimes blowing in the breeze. or I always look forward to the joyous tintinnabulation at church during the christmas season. 

Judith makes a list of possible names for a title and slowly narrows it down.  In this book she explores what poetry can uncover through musicality and analogy  and how these elements can open up sacred space . The title Tintinnabulum is an onamatopeia word ( the naming of a thing or action by imitation  of natural sounds as buzz or hiss ) and that title became the final choice as one or two poems include that word .  Robert Frost says, ‘sound is the gold in the ore of poetry’ 

“I chose the title meaning ringing of little bells  to suggest celebration and to indicate that many poems in the collection,  engage in almost ritualised observance of precise aspects of the physical world . 

Judith would like to be called an imagist poet.

In this book she looks specially at animals, landscape and at people in certain environments.” 

Sacred space comes into being  with the idea of relationships and the idea of apprehending the interconnections  with  them especially  through the use of metaphor. 

Walking with the poet  captures this.  A poem in memory of Dorothy Porter.  She often uses water landscape . Rilke says ‘praising is what matters ‘

Judith is interested in the ways which simile and metaphors can create relations that previously might have been unnoticed. 

“My poetry centres around this core aspect of poetic language. ‘

She has been influenced  by Seamus Heaney , Robert Frost, Hopkins, Amie Clapton , Walcott, Plath . 

Sound

Sound affects the  reader  – when it hits our gut our feeling centre. For a poet  human emotions are full of potential. 

Love the sound of Plath  “A bird flits nimble-winged in thickets”  Sound is a great tool to get feelings rippling through the poem.  

Using poetic devices to give surprise and visceral response

Peppertree Bay  is pure adventure using metaphor, simile and imagination.  They are tools to connect  – dissolve boundaries to connect things in our gut  – healing, restoring,  and helping to open up sacred spaces .Pictures in your head she wants them to curl into your imagination and stay.  eg Breakwall octopus and ballet shoe, 

a kite letting down . . .  

A writer needs to balance imagination and reality.  

“You can have an imaginative garden but you need real toads in it” 

The poem The Light on Marine Bay  began with something real. Light on water at North Parramatta Park !

James Dickey says it is alright to lie in poetry  . It is a literary strategy to delve deeper into deeper truth . 

Empathy  

is an important quality. eg Cruelty of animals is appalling 

However sentimentality  can undermine the real feeling of a poem .  and sentimentality can be caused by a lack of attention.   Read The Dancing Elephant  There is an iron bell resonance between the animal and reader. 

Attentiveness is the natural prayer of the soul.

Assonance 

She loves Wallace Stevens  and works with his poetry in one section. 

His poems Snowman and 13 Ways to look at a Black Birds.

“One must resist the intellect almost obsessively . Forget the context, get the music . Failed poetry is when the content takes over. 

 

JUDITH SIGNING MY BOOK > I BELIEVE SHE IS ONE OF OUR GREAT LIVING AUSTRALIAN POETS .

 

Judith Beveridge: a note on Tintinnabulum

The renowned Australian poet Judith Beveridge reflects on her much-anticipated new collection of poems Tintinnabulum (1 July 2024), the first since her prize-winning Sun Music in 2018. Read an extract from the book here.


Tintinnabulum explores what poetry can uncover through musicality and analogy, how these elements can open up sacred spaces. I have chosen Tintinnabulum as the title (which means the ringing of little bells) to suggest celebration and to indicate that many poems in the collection engage in an almost ritualised observance of precise aspects of the physical world. I look specifically at animals, landscapes, and at people in certain environments.

Sacred spaces, I believe, come into being when we perceive relationships and apprehend interconnections. I have always been interested in the ways in which similes and metaphors can create relations that formerly might have been unnoticed. My poetry has centred around this core aspect of poetic language and Tintinnabulum continues this with perhaps more urgency and power, but also with humour and surprise.

I also love to use language that is distinctly focussed on sound as a way of enhancing meaning and providing pleasure for the reader. My animal poems, which make up the book’s first section, delve into how we often interact with cruelty and insensitivity to non-human animals, but I also look at ways in which encounters with animals throw their ‘otherness’ into stark relief such as the distinctly alien lives of cicadas, leeches, bluebottles.

The second section focusses on the human world and brings to bear a sense of compassion for the difficulties that people encounter: surfers on a high sea, a waitress unhappy in her job, two brothers suffering racist cruelty, as well as elegiac poems about friends and family members.

The third section consists of imaginative/hallucinogenic scenarios, and is my most poetry at its most weirdly inventive. This section culminates in a joyous romp through sonic repetitions and is a homage to the poetry of Wallace Stevens.

The poet Edward Hirsch has said that ‘Attentiveness is the natural prayer of the soul.’ I believe the final section of the book attempts this level of worshipful attention evoking the beauty and awe to be found in landscapes. It is my aim that readers, after reading Tintinnabulum, will find the world less fragmented and more interconnected, that language can be felt as an activating mechanism for wonder, joy and revelation.

— Judith Beveridge, May 2024

Mosaics in the portico of the National Art Gallery London by Colleen Keating

Mosaics in the Portico

tread gently
you walk
on sacred ground

The first picture that greets visitors to the National Gallery is not an Old Master, nor an Impressionist. Nor does it even hang on a wall. Set into the floor of the first landing in the Gallery’s Portico entrance is ‘The Awakening of the Muses’, a marble mosaic laid in 1933 by the Russian-born artist Boris Anrep (1885-1969).

Between 1928 and 1933, the National Gallery commissioned Anrep to lay two mosaic pavements in the vestibule of the Main Hall to illustrate ‘The Labours of Life’ and ‘The Pleasures of Life’. In 1952, Anrep laid a third pavement, ‘The Modern Virtues’.  The resulting mosaics are a celebration of everyday life, which lies underfoot in a busy public place.

Anrep was an associate of the Bloomsbury Group of artists and writers, who notoriously championed modern art and modern attitudes. His Muses are not heavenly immortals, but portraits of people from his own world. Many of the characters are played by Anrep’s Bloomsbury friends.  I love that. And the photos dont do justice to the beauty of all these fine old tiles that people walk on and many not even noticing . 

Lucidity, Astronomy, Compromise, Delectation,
Humour, Folly, Dance, Sixth Sense,
Pursuit, Art, Football, Defiance.
Defiance

Compromise

Rest

Curiosity

 

Winchester Cathedral in 10 Picutres  by Colleen Keating

Visiting Winchester Cathedral in 10 Picutres 

 

A tree lined park leads us to a staggering cathedral of wonderful proportions built in 1079 and expanded after that over 5 centuries with 7 different designs  of architectural  styles.   it has had countless restorations over the centuries .

After entering the Cathedral the first site that stopped me  was the west wall stained glass window at the back of the cathedral.

 

It has a n interesting story.

The mosaic stain glass window was not the intended design but an assortment of broken fragments collected and repaired after all of the stain glass windows of the cathedral were smashed on 12 December 1642 after the army  burst through the doors rode their horses into Winchester’s historic cathedral.. Then those with guns used the windows as target practice. The ground was splattered with coloured glass.

When the angry soldiers left, the townspeople came around and picked up as much of the glass as they could. They stored it all in boxes tucked safely under their beds in hopes that when things calmed down, the windows could be reassembled and the bones could be reburied.

Oliver Cromwell, died in 1658 and within two years, the monarchy was restored. But the war had left Winchester Cathedral in a sorry state. In an effort to get things back to normal, the citizens of Winchester set about cleaning up and repairing their cathedral.

Everyone brought out their boxes of glass to see if they could be put back where they belonged. However, recreating the beautiful Biblical scenes that had once graced the windows proved to be an impossible task. So they repaired many of the broken windows with clear glass.

A Window as a Metaphor

For the huge west window, they came up with a special plan. They gathered all the bits of broken glass and made a mosaic. The result was a beautiful window.

It doesn’t have images representing stories from the Bible as it once did, but it still tells a story. It tells a story about a war and of people putting broken things back together. And maybe there’s still a spiritual message in it for us. Perhaps it’s a metaphor for life and teaches us that no matter how shattered things seem, they can still be put back together. They might not look like they did before, but they can still be beautiful.

(adapted from The Curious Rambler – Margo Lestz)

A Window, A War, and a Metaphor in Winchester Cathedral

Heard melodies are sweet,
but those unheard are sweeter;  Keats

Stained glass stories with ornate tales
saints and heroes and biblical scenes
summon us to stand and wonder

imagine the emptiness of frame
when in rage men lifted muskets
shattered  story and beauty  reigned terror

how many brave hands were cut by shards of glass
how many pockets and boxes of glass collected
hidden for 20 years in hope of restoration

impossible to recreate the ancient windows
to their seventeenth century former majesty
yet a sense of people-power gave hope

a multicoloured mosaic of salvaged shards
with additional clear glass to fill residual gaps
makes luminosity of light live once again

a reconstructed window
its kaleidoscopic splendour tells a new story
a story of salvation and resurrection

Colleen Keating

 

Marvellous archetecture. We could spend hours walking around this beautiful 12th century structure.

“Winchester Cathedral is one of the most historically significant buildings in Britain.

It is located at the heart of historic Winchester, once the seat of Anglo-Saxon and Norman royal power,

on the site of an early Christian Church. Today, Winchester Cathedral stands beautifully

in the idyllic green spaces surrounding it,

boasting the title of Europe’s longest medieval Cathedral.

The Old Minster, a Benedictine monastery, was the home of St Swithun and the present Cathedral was built

on the orders of William the Conqueror. Begun in 1079, Winchester Cathedral

has been a place of welcome and worship ever since. “

A place of prayer and a prayer for PEACE

 

 

 

We all wanted to visit King Arthur’s Round Table of Camelot that his knights used to sit around? 

Here in  Winchester  the Round Table is  part of Winchester Great Hall. a short walk from Thre cathedral.

Although it’s not really the legendary circular table, it is a medieval recreation that dates back to the 13th-century! 

As a huge fan sof the Arthurian Legends and anything to do with Merlin,we just had to check this table out for myself. 

Pa and Elizabeth getting into the mood.

The architecture of the Hall was breathtaking as the Cathedral .

Finally attached to the hall was Queen Eleanotr’s Garden  with its fountain, long walking trellis  for ladies to walk and care fot their complexion and a mediatation corner of peace.

Pa and Eleanor sitting in the meditation corner but not really mediatation

Thomas and i walking under the long trellis way.

And so after a long drive home thanks to William we arrived with a new story and much beauty that feeds our soul.

Drives into the English Countryside in 10 Pictures by Colleen Keating

Several drives into the Countryside in 10 Pictures

One of the creative  moments feeding our souls

We set out to find a mystery country church that we had heard of  worth visiting as it is said to have 12 beautiful Marc Chagall stained glass windows . It was about an hours drive to All Saints Church Tudeley .

There were no cars  as we drove into the car parking area in the country side.   No line up of people queued to enter as there was at the hot bread shop yesterday. There was a country peace and quiet so quite the swaying  hum of  barley in  the field next door could be heard.

Elizabeth was the first to pull the very old wooden door to enter and I heard her gasp ‘O my goodness’ I followed and stopped  in awe catching my breath with ‘O my ‘ The small church was full of scintillating  mood of coloured light   the ancient flood and wall stones were shimmering in swaying light  and the windows , with the luminosity of Marc Chagall work waited for us .

 

All Saints Church in Tudeley, Kent, England, is the only church in the world that has all its windows in stained glass designed by Marc Chagall.   “When Chagall dies Matisse will be the only one left that knows what colour is “ Picasso

One of the wonders of the Tudeley windows is that they are at eye level: one can go right up to them and see the marks of Chagall’s hands. He would scratch and mark his windows right up to the final stage of making – some say even after they were installed. This distinguishes the Tudeley windows from most of his other stained glass, which tends to be high up and hard to see.

(Some of his finest work in the medium is at the synagogue of the Hadassah Medical Centre in Jerusalem, depicting the Twelve Tribes of Israel – the Reuben window, in particular, prefiguring the east window at Tudeley and in a Zurich Cathedral. The most interesting window at present with thoughts of Gaza , according to my friend Andy . . .is at the is the Peace Window at the United Nations building in NY. a

How did Chagall happened to be present here in this tiny unknown church in the countryside.

The story goes a  young jewish girl Sarah and her mother had seen  and admired the Chagall designs for the Hadassah windows at an exhibition in the Louvre in Paris in 1961, and had been enthralled by them.

After the sudden death of Sarah in 1963, in a sailing accident, her parents living in the area of Tudeley,  Sir Henry and Lady d’Avigdor-Goldsmid commissioned Chagall to design the magnificent east window. In commemorating the daughter of a Jewish father and an Anglican mother Chagall was an inspired choice. Chagall was a Jew, but one who often included Christ in his work, and who spoke of him as “the radiant young man in whom young people delight”.

Chagall was initially reluctant to take on the commission, but was eventually persuaded – and when in 1967 he arrived for the installation of the east window and saw the church, he said, ‘It’s magnificent. I will do them all.’

And over the next 15 years, Chagall designed all the remaining eleven windows, collaborating as usual with glassworker Charles Marq of Reims. The chancel windows were finally installed in 1985, the year of Chagall’s death at the age of 98 (replacing Victorian glass, now artfully backlit by a specially designed light-box installed in the vestry, at the suggestion of Sir Hugh Casson).

For myself I have always  been curious of the famous Chagall windows at the Hadassah Synagogue in Jerusalem  and the ones at The Fraumunster Church Zurich. I had accepted not to experience them and here I stand before 12 Chagall windows the east window inspired by  the famous Reuben window  in Jerusalem . What a beautiful gift to our world.

My favourite  window is in the SW corner ( for the English where the su light gets in )

It is all golden and called the Resurrection window. It echoes the other windows as it also has birds of the air , beasts of the field and an angel albeit less obvious.

Picnic in the  ancient peaceful cemetery

Country walks around the churches  down in a barley field,  path under the birch trees to a secret garden.

 

Kids and Michael enjoying the country side

   

 

2

With our spirits full  I felt close to Heaven having been in  the presence of Chagall I felt as if I could not take in any more when we read another tiny church i and half miles away across the field there was another country church –St. Thomas à Becket, Capel has a notable 13th century wall paintings and a yew tree under which Becket himself is supposed to have preached.  It is a small Norman Wealden Church.

 

The tower was partly rebuilt after a fire in 1639. Inside, the crown-post roof is striking and there are some interesting fittings. Most significant however, are the extensive medieval wallpaintings which cover most of the nave.

Having been hidden by plaster for hundreds of years, evidence of these treasures was first discovered in 1868.

The north wall is a reminder of the colour and artistry which adorned England’s mediaeval churches before the Reformation. These paintings provided a kaleidoscope of visual aids to teach the Christian faith to ordi- nary people, who could neither read nor understand the Latin of the services and scriptures.

There were two tiers of scenes on the north wall. A horizontal frieze of zigzag riband pattern, about 4 feet (1.2m) from the floor, marked the bottom of the lower tier, and a frieze of scroll-work further up, divided the two tiers. These friezes, together with the lines which cover the wall and also the wide splay of the Norman window and the arch of the blocked doorway, with a masonry pattern, are thought to be the work of c.1200. and it reminds me of the work in the original Church in Hildegard’s Church which tells the biblical stories.

 

PS A footnote:

Hi Colleen,

Great to hear you were able to visit that church in England where Chagall designed/painted a beautiful stained-glass window. Elaine and I made a point of seeing his windows in a church in Zurich and a synagogue in Jerusalem on our pilgrimage to the ‘Holy Land’ in 2016.

As witnesses to Gaza’s unholy war, you and Marg may be interested is Chagall’s magnificent ’Peace Window’ at the United Nations building in New York.

Blessings and Love to all

Andrew

I have copied the image and description of the window from the UN website. [Photo in separate text]

“Peace Window” – Marc Chagall (Marc Chagall and the United Nations Staff Members – 1964)

The memorial, a stained-glass window about 15 feet (4,6 meters) wide and 12 feet (3,7 meters) high,

contains several symbols of peace and love, such as the young child in the center being kissed

by an angelic face which emerges from a mass of flowers. On the left, below and above, motherhood

and the people who are struggling for peace are depicted. Musical symbols in the panel evoke

thoughts of Beethoven’s Ninth Symphony, which was a favourite of Mr. Hammarskjöld’s.

Chagall’s own handwritten dedication (15 May 1963) reads:

“A tous ceux qui ont servi les buts et principes de la Charte des Nations Unies et pour lesquels

Dag Hammarskjöld a donné sa vie.”
[“To all who served the Purposes and Principles of the United Nations Charter,

for which Dag Hammarskjöld gave his life”.]

 

PSS  a further footnote 

Ah that’s so interesting, beautifully moves me to tears.

One of my  treasured possessions is a copy of Dag Hammarskjöld’s book, Markings.

It’s old and brown. His words have been a comfort to me over the years,

he was and is an inspirational icon of goodness for me.

I’m sending a little of his words in the foreword. His death was so untimely,

believed perhaps to have been killed!   Marg xx

 

An English Spring in 10 Pictures by Colleen Keating

An English Spring in 10 Pictures

Out walking in the English fields the idea of rewilding England is in full bloom

spring pond
two green-headed drakes
flaunt with a duck

a blue dragonfly
rests on a pond reed
a piece of sky

from the dark
to full light
white lotus blooms
showing me
the way forward

the unkept park
rewilding nature
we wander amid
a bevy of birds, insects
and blossoming weeds

dandelions, red clover,
buttercups, bees
insects on daisies  and song birds in trees
tadpoles dancing
amidst flowering lotus

And ducklings we watched them just born run all over the lotus leaves . Life was wonderful.  But the next day they are gone.

 

Story of the tiny Englash Blue Tits that nested in our back yard. An exciting observation.

           

 

And then they fledged, played in the apple tree for a little while and were gone, leaving the back yard soquiet and  lonely .

I can go back to concentrate on sparrows and magpies and look for wrens .