White Pebbles Haiku Group , Autumn 2025

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

 

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

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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Our Centenary Celebration 1925 -2025 of Society of Women’s Writers NSW

 

It was very special to be part of the Centenary Celebrations for the Society of Women Writers. The photo above is Pip Griffin and myself celebrating at the Rooftop Bar with its spectacular views over the Domain and Botanical Gardens and the Harbour.

1925 -2025.

We are a group of Sydney Writers who claaim to have in our story the brave women of the 1920’s , World Wars, Depression, the Cold War, the struggle for equality , diversity and Inclusivity.over the past 100 years.

Women including Ruth Park, Ethel Turner, Dame Mary Gilmore ,Florence Baverstock, Dorothy McKellar and Eleanor Dark who left her home, ‘Varuna’ in Katoomba as a writers retreat and when I joined I sat next to Margaret Whitlam who was a very generous member.

Celebrating our Centenary . . .   Jan Conway former President, the 2024 recipient of the Di Yerbury Award and present  editor of Wome’s Ink , Libby Hathorn, Childrens writer and the creator of the animation for our centenary, yours truly and Nell Jones the 2025 recipient of the Di Yerbury Residency Award. 

To view the video and/or listen to the accompanying song separately, please visit our website: https://womenwritersnsw.org/…/our-centenary-animation…

Our Centenary Animation Video

Huge thanks to Libby Hathorn and Hamish Gilbert, and the SWW Centenary Committee as well as the other contributors and decision-makers who made this video and song possible.

To view the video and/or listen to the accompanying song separately, please visit our website: https://womenwritersnsw.org/news/our-centenary-animation-video

Celebrating our Centenary – 100 years  of the Society of Women Writers NSW. Libby Hathorn spoke passionately about the power of women’s creativeity and presented the animation of SWW’s 100 years. Richard Neville officially launched the start of the celebrations . Maria McDougall the coordinator of the 100 years warmly welcomed a packed audience.

Afterwards we retired to the new Rooftop Winery for Champagne and nibbles to toast the beginning of our year.

 

 

 

 

 

The Lost Words by Colleen Keating

   

“Miracle” by Kathe Davis

Maybe
the burning bush
was just autumn 

it would have been
enough 

 

Tanka from my garden

Can you see the first four leaves setting the pace with Autumn on its way?

autumn watching
the first four amber leaves  
in our oak tree 
pink and grey galahs
feast on hanging acorns 


autumnal music  (publ. in Fire on Water)
I thought I knew the sound  
its rustic ring  
its tingle 
down 
my spine 
its warm gurgle  in my feet 
and hands 
its whisper
at the nape of my neck
and satisfying sighs pulsing 
cool and crisp and clear

yet autumn always shocks 
its soul-satisfying crunches 
and munches and moans 
wild wind in corridors 
and howls through window gaps
its rhyming rustle tones
with snicks and snaps and cracks 
always surprise
as I listen 
to the easy drift of vesper leaves
settling to a hush

CONKERS

   

 

Autumn walk in England

in the beginning
rugged up against the air’s frosty fingers
they stomp the crispy crunch
of autumnal earth

 then along the bridleway 
in search of conker trees 
the children scamper 
running this way and that 
when the conker tree is found.

excitedly we stop and look up 
its big arms reaching out 
whispers climb me climb me
and the conkers wait
like furry animals
for a good shake  to wake
and awake they come ping ponging down 

these prickly popping conkers 
in large exuberant handfuls 
are chased and counted
as our day is written on 
by these children
with commas, question 
and exclamation marks 
and ticked by amazement.

And with our little English Grandchildren we sing

Leaves are Falling

(tune-Jingle bells) 

Leaves are falling,
Leaves are falling, 
One fell on my nose!

Leaves are falling,
Leaves are falling,
One fell on my toes!

Leaves are falling,
Leaves are falling,
One fell on my head!

Leaves are falling,
leaves are falling,
Yellow, orange and red!

 

The following poem is from a gorgeous book called

The Lost Words

by Robert Macfarlane &  Jackie French

The book is actually a collection of words put to poetry that are actually be deleted, erased from the English Dictionary  and it seems devastating that words like acorn, willow , fern and some common birds are being sacrificed for the new modern words of today. Children still need to know the language of their natural world.  Here is the poem and illustration for the Conker from the book.

Colleen Keating reviews Natural Light by David Atkinson

CAPTURING THE HUMAN CONDITION:

 

 COLLEEN KEATING  REVIEWS NATURAL LIGHT

BY DAVID ATKINSON.

 

A Review of Natural Light by David Atkinson

Review  by Colleen  Keating

Reviewed by Colleen Keating

Natural Light

by David Atkinson

Delphian Books

ISBN 978-0-6486276-8-5

With an acute lyrical touch and an unerring ability to evoke sights, sounds and sensations,  David’s poems reveal new depths upon every rereading.” These affirming words by Richard Clark who recently launched ‘Natural Light’, come from an appreciation of the rich use of imagery, and the way in which the poet, speaks to his readers.

This new book is David Atkinson’s third published poetry collection after ‘The Ablation of Time’ (2018) and ‘Strands and Ripples’, (2021) both published by Ginninderra Press.  The poet grew up in the Riverina and knowing this, the reader can appreciate the way he pays reverent attention to the landscape, the birds, the sheds, tools, country roads, road kill and the Hume’s long-snaking journey to connect with the city. 

‘Natural Light’ is a striking book, full of original images, capturing the human condition and the natural world. These are broad themes and longstanding interests of the poet. An example of this is from ‘Whipcord’,

Transfixed, we swerve in aversion, wary and watchful,

as the brute, terror of the imagination,

topic of tales, slithers away. 

Piques a flashback to that folio of boyhood fears;

an eastern brown slides through a dream.

The Holden accelerates, the small boy braces,

steeled like a vehicular strut, then the weight 

of the work boot, as breaks squeal

in a controlled skid through the writhing backbone.  

Atkinson holds his memories, sets himself the task of researching a subject and then works them into a poem. He plans his poetry to put together a collection of work that shows variety of subject and form, including sonnets and villanelles while falling back into the things he loves and is most comfortable with. Hence we are gifted with a book of poetry that surprises wherever you open its pages.

The poems are arranged into six sections:   In the first section titled The Scaffold of Time  there are moments of reminiscing. One example of this is,  as a child. sleeping on the verandah with his family on a breathless country night,

in the open we are kneaded into nature. 

The night breathes a soft–hued concerto, 

         the wildlife variations.

and 

Beyond the strands of ringbarked trees

the muted moon rises

and the stars are glow worms

over the riverine flats.

In ‘Bow Wave’  how wonderful to watch the way the poet shifts us from the country’s hard hot washing day to pondering a dream Manly holiday with memory of his mother,

In the freestanding washhouse she launders

the clothes, her farmer husband’s khakis,

reek of the shearing shed and the killing tree.

After igniting the copper, boils the garments

and bed linen; the spit of split kindling,

the flames prancing in the grate. 

Then as reader, we feel the cool ocean breeze with her dream,

the South Steyne churning its bow wave 

slamming the subservient wharf.

even as,

Her neck sallow, not yet seared swarthy

by the sun, she groans, heaves the bedsheets,

feeds them into the clothes wringer,

hand-operated, the water squeezed down

flowing, gurgling into the drain.

This scene is part of my own memory of helping my mother and grandmother but I wonder what the next generation will picture here.  Whatever, it is important for this weekly chore to be honoured . 

In the poem ‘Generations of Ritual’, the imagery shows how the fates have determined the change and similarity in our lives with the colourful phases,

The pungency of lucerne hay, 

the prickle of the fleece’s burrs. 

the taste of the moonrise frost

solo star in the top paddock,

 In the section, Unswept Wings,  there are many gems including the prize winning poem ‘Gang Gang’,

When you sweep in, deep wing beats,

you skim along the runaway of azalea blooms.

In an ambience of apricity, I observe

your free flight through the bush reserve; 

I know why this time you alight alone.

I watch your actor’s bow to the water,

curved beak leading to its cere,

eye staring off across your canopied 

territory of eucalypts;

Another award-winning poem, ‘Wedge-tailed Eagle’ 

takes us deeper,

In a rhythm of etiolated recall my spirit

aches for the passing of the years.

The fundamentals seem to have been recast,

a perception of having taken

a long journey to the interior. 

The moment to explore the season

with Vivaldi, to grasp the assertion,

the fretwork of the river red gum.

At last the opportunity but I am ageing

and my soul yearns for peace.

Time is transient and pitiless;

I must seek out the resting ripple

of the remote and elusive platypus

in the headwaters of the Coxs River

and turn back to accompany you

on your buoyant ascent.  

In the section Anchored,  one poem  ‘The Challenge of Algebra’ stands out for its thoughtful attention to our wider broken world with the final lines;

Faith is a trait which cannot

be contained; it bubbles

and spurts like water

from an underground spring, 

from a young maths student pinned

under the earth of Mariupol

Further sections are The Ochre of Dawn, Light on the Breeze, 

and in the last section titled Interwoven 

I especially appreciate ‘Villanelle of the Drought’,

‘the yawl of callous crows; he dreads their shriek

alighting on a victim in the glare.

The stricken ewe has slumped, half-starved and weak.

Poems are honed with short, sharp words that give a sense of urgency. In the poem ‘The Old Hume’, Atkinson recounts a trip to Sydney as a young boy, with the rhythm of the road, its bucolic smell and heat.  The light hits that memory as a young boy remembers the sticky heat of the vinyl under his hand and he is jolted by the change in towns now dead and the speed of progress.

As Richard Clark commented in his launch, Atkinson is a master of enjambement and I was interested to spend some time observing his skilful working of this technique.  How it draws the reader in.  I say this because I especially relate to his portrayed country world of the 60’s with the droughts and struggles, having spent my childhood in the country albeit a different direction, The New England Tablelands. 

This is a journey book.  Atkinson uses learnings especially from the birds, with their lightness of being and so opens the perspective of being untethered and free. He comes to a finality with family that brings him home. 

‘Natural Light’ is a worthy collection, full of surprises. Poems that shine like gems, many illuminating the way,  many with  their beauty in the natural light alone.  We are gifted with the opportunity to pause and contemplate their translucence. 

 

Colleen Keating is a Sydney poet. Her recent poem The Two Canticles was winner of the Phillipa Holland Poetry 2024 with Eastwood /Hills FAW (Fellowship of Australian Writers) and is published in Rochford Street Review Issue 40 – 2024:2. Her poem,Fifth Symphony was awarded Highly Commended in the Poetic Christi Press poetry competition and published in the new Anthology A New Day Dawns 2024. Colleen has published six collections of poetry, including two award-winning verse novels, Hildegard of Bingen: A poetic journey and Olive Muriel Pink: her radical & idealistic life. Her newly published book is The Dinner Party: A poetic reflection. (2023) All are available through Ginninderra Press. Colleen writes on Ku-ring-gai land in Sydney and Darkinjung on the Central Coast NSW.

Echidna Tracks Issue 14: Open Theme edited by Marilyn Humbert and Simon Handsom

Proud to be included in Issue 14 Summer/Autumn 2025 of Echidna Tracks especially with these talented haikuists.

Thank you to the editors  Marilyn Humbert and  Simon Hanson for their dedication  in working to choose the haiku   for the journal and especially for their sensitive and thoughtful placing of  our work.

northeasterlies . . .
a fleet of bluebottles
sails into Sydney harbour

Corine Timmer

bluebottle tide
silver gulls forage
in seaweed

Vanessa Proctor

ebbing tide—
the beachcomber treasures
her amble

Colleen Keating

low tide
the setting sun sips
from a salt-rimmed glass

Kathryn Reese

 

voices in the night . . .
the stars maintain
their silence

Elaine Riddell

cloudy night vigil—
waiting to see the moon
perfectly full

Andrew Hede

peek-a-boo moon
meandering through the creek
a rakali

Corine Timmer

looking for peace—
a rakali carves V-wakes
across the river

Tony Steven Williams

 

by the river
corellas scramble for space
solitary ironbark

Colleen Keating

 

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 South 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

–––––––––––––––––––––––––––––––––––––––––––––––
********** 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.