“For Harley” (reprise)

(originally posted on 10/27/2021)

“For Harley”
(c) 2021 by Michael L. Utley

I wonder if he ever knew his ears
Had failed him as he nosed the gravel road
Collecting scents of all that passed that way
As afternoon slipped into eventide
And xanthous-tinted rabbit brush held sway

Amid god-beams

Gilded god-beams

His pup days had long passed as elder gray
Frosted his chin and whiskers, and his gait
Had slowed as tired legs had stiffened up
And aching joints reduced him to a mere
Shadow of his bold beagle days of yore

When he was young

When we were young

His eyes—those burnished chestnut orbs that danced
And glimmered in the magic-hour rays
Of summer eves—belied his years and shone
With feisty fiery passion and the ken
Of canny canine stratagems and grim

Intensity

Vehemently

As for his tail, there wasn’t much to say
Other than it epitomized the joy
Of reckless youth, that whip-snapping white-tipped
Apostrophe above his bobbing haunch
Forever oscillating to and fro

It wagged a lot

His ears were shot

I’d stand behind him, holler out his name
And he, oblivious to all, would move
Nary a muscle nor would bat an eye
But go about his business in his world
Of silent summer farm days as the birds

Sang quietly

Spoke thoughtfully

A touch upon his back would do the trick
And he’d glance o’er at me and grin as if
To say, “Oh, there you are! Now where’s my treat?”
And having been trained well by him I’d reach
Into my pocket for a doggo snack

And he would beam

His eyes would gleam

But mostly I recall our evening walks
As day-haze settled, rabbit brush aglow
And Harley, nose to road, would pad along
Intent on scrying hidden critter trails
In search of that elusive siren song

That rabbit scent

And there he went

A brown and white torpedo like a blur
Of milk and cookies, ears jet-streamed behind
His head, and beagle-baying, “Here I go!”
And through the sage and cheat grass he would fly
His white-tipped tail zig-zagging through the maze

Of summer days

Our summer days

And I would stand and watch this ritual
This vital, sacred rite that kindled life
And filled souls overflowing as my friend
Chased rabbits in the fading of the day
Braying echoing ‘cross halcyon fields

Amid god-beams

Gilded god-beams

“A Few Haiku & Senryu (59)”

(c) 2023 by Michael L. Utley

(#349)

thunderclaps
the sound of birth and death
bookends of nothingness

…..

(#350)

between earth and sky
there is only everything
in the emptiness

…..

(#351)

this frozen sky
tries so hard to snow but can’t
my winter heart

…..

(#352)

do not interrupt
the slow dreams of drowsing trees
fickle winter moon

…..

(#353)

pardon the mountain, dear moon
for his heart is stone
and his burden heavy

…..

(#354)

somewhere in this life
I’ll lose myself or find myself
a soul’s journey

“A Summer’s Field in Winter”

“A Summer’s Field in Winter”
(c) 2022 by Michael L. Utley

let us sift through summer’s solemn ashes
let us scavenge rusted hopes from twisted
hulks of yesterdays amid the swelter
and the din of frigid silence
as crows circle

this broad swath the acreage of sorrow
garden of the gods whose feckless mewling
echoes ‘cross the eons and the seasons
crumble into dust as autumn
gives up her ghost

we were never long for this cold world, this
dispensation of abominations
sunset fell before the flax had faded
bleeding out beneath indiff’rent
constellations

paradise, oh paradise eternal
dashed upon the stones of human hubris
we the stewards dined on milk and honey
as our world descended into
oblivion

thus the world was burned and we burned with it
rendered lurking shadows in the gloaming
flesh and bone have failed us as the season
of regrets approaches; we have
earned winter’s wrath

in our dreams we’ll gather wild flowers
fetch the wicker basket for the poppies
crowns of woven larkspur shall adorn us
we will rest among oak shadows
in the clearing

and when we awaken from our slumber
and when we espy the desolation
let us sift through summer’s solemn ashes
in the winter’s frigid silence
as crows circle

(Author’s Note: This poem was originally published in Chewers & Masticadores in January 2023.)

“Autumn Leaf & Ferns”

Autumn Leaf & Ferns, near Trout Lake, southwest Colorado (c) Mike Utley

I have a lot of images from Trout Lake in southwest Colorado, about an hour from where I live. Many of these images don’t feature the lake, such as this one of autumn ferns. The area is heavily forested, snuggled deep within the arms of several mountain peaks. In the summer, wild flowers explode in a profusion of color; in the fall, aspens glow a strident yellow that complements the deep greens of conifers and the cobalt blue sky.

On this autumn day in the late 1990s, my mom accompanied me. She enjoyed getting away from the farm whenever she could, and she loved nature drives and breathing fresh mountain air. We took the dirt road that circumscribes the lake and pulled over in a little clearing of ferns among tall pines and spruces. There were a few bright red amanita muscaria mushrooms still stubbornly clinging to life, and while my mom looked at these poisonous fungi (I’d warned her not to touch them), I set about photographing the ferns whose fronds had begun to turn yellow. On the ground nearby, a small leaf the color of arterial blood caught my eye, and I saw an opportunity to show my mom one of the standard composition guidelines of photography: the Rule of Thirds. Not quite a rule as much as a suggestion, the idea is to divide the frame into thirds both vertically and horizontally (like a tic tac toe grid). Placing the main subject on one of the places where these grid lines intersect—the power-points—generally results in a more pleasing image. As with any rule, there are plenty of exceptions. This rule is overused and can produce cliché images that lack depth and emotion, but sometimes the end result is indeed compelling.

I composed the image, placing the crimson leaf on a power-point and explained the theory as my mom looked through the viewfinder. When I got the slides back from the lab and showed her the resultant image on my lightbox, she could hardly contain her excitement. She adored this image and she felt as though she had played a part in its creation. And she was right: every time I look at this image, I’m reminded of her, just the two of us in the little clearing one autumn afternoon, experiencing nature and being glad to be alive. It may appear to be just another pretty picture, but it’s so much more than that. I was able to share my love for nature and photography with her that day, and part of her lives on in this image. (Canon gear, Fuji Velvia ISO 50)

“A Few Haiku & Senryu (56)”

(c) 2023 by Michael L. Utley

(#331)

dusty stew pot
her memory lingers by
the cold hearth

…..

(#332)

a tiny sun
in this cold dark hell
golden suisen

…..

(#333)

strings of koto
from beyond the bamboo grove
my heart breaks again

…..

(#334)

don’t look at me, moon
I’m not who you think I am
dark night of the soul

…..

(#335)

from my window
the mountain; from the mountain
eternity

…..

(#336)

green silence
and the end of all things
sea of trees

(Note: A bit of a title change for this series. I’ve been writing senryu almost as long as haiku and I figured it was time to clarify that these little collections contain both. Haiku pertain to nature and seasons, while senryu address the human condition. The formats are virtually identical; the subject matter differs.)

“Pussy Willow Catkin on Twig”

Pussy Willow Catkin on Twig, near Trout Lake, southwest Colorado (c) Mike Utley

Trout Lake, near the small town of Telluride in southwestern Colorado, is my second-favorite spot on Planet Earth, just behind Heceta Head Lighthouse on the central Oregon Coast. I’ve posted a few images of the lake itself, snugly nestled in the laps of Sheep Mountain, Vermilion Peak, Golden Horn and Pilot Knob amid pine and spruce forests, aspens and a cornucopia of wild flowers. A dirt road circumnavigates the lake, wending its way closer to the peaks and through the woods and bogs. A narrow wooden bridge, which had fallen into disrepair the last time I was there, spans a creek halfway around the lake. It was here, near the collapsed bridge, while photographing elkslip and other wild flowers one summer evening in the late 1990s, that I noticed a lone pussy willow catkin perched on a twig.

I’ve always been enamored with these diminutive delights, tiny and soft and so aptly named (honestly, the term “catkin” is sort of giggle-inducing). There were no willows where I lived on the farm so I’d never had the opportunity to photograph these little guys until now. The light was quickly fading so I set to work. The compositional goal was to isolate the twig and catkin against the background by using a wide aperture setting to blur the background into a solid mass of color in order to make the subject stand out as much as possible. I wanted to express a little story with this image, too, a vignette of the early stages of life, its uphill battle to reach maturity, and the uncertainty that awaits all of us at the end. The catkin was placed on a power-point in the lower left, with the gentle upward arc of the twig leading across the frame to…what? What lies ahead? What of that sudden drop-off at the end of the twig? In life, we may think we have a plan, a goal for the future, but in reality we’re all flying blind. At any moment, our own personal twigs may end abruptly, plummeting us into oblivion. I envisioned the tiny catkin feeling trepidation at the beginning of its journey, leaning back in fear…perhaps steeling itself to perform a Naruto run to the end of the twig and take flight into the unknown. In this brief pause on the cusp of its decision, the air was utterly still, and not a sound came from the forest. Even the ever-present mosquitoes held their collective breaths as they awaited what was coming. I like to think the catkin was preparing itself, screwing up its courage, and calming itself in the cool air and verdant green silence of the woods. And then…

…it’s up to you to decide what happened next. I haven’t returned to this place in years. I hope the catkin’s journey was a happy one, and as brief as this blossom’s lifespan may have been in the grand scheme of things, its ethereal beauty fit right at home in the green silence of the forest, among elkslip, wild irises and columbines. (Canon gear, Fuji Velvia ISO 50)

“A Few Haiku (55)”

(c) 2023 by Michael L. Utley

(#325)

to write is to breathe
and I am suffocating
in silence

…..

(#326)

speak again of joy
and the warmth of summer days
your lies are comforting

…..

(#327)

pond ice
stretched thin as hope
and equally deceptive

…..

(#328)

some write of joy
I write of experience
would they were the same

…..

(#329)

pardon my sorrow
and forgive my weeping soul
a poet’s lament

…..

(#330)

hope comes and goes
and lasts for but a season
winter snow

“Sandstone Formation & Tree”

Sandstone Formation & Tree, Lisbon Valley, SE Utah (c) Mike Utley

Lisbon Valley is a relatively nondescript region in southeast Utah near Canyonlands National Park. While its redrock sandstone formations don’t rival the majesty of those found in Canyonlands and Arches National Parks, it has its own hidden marvels, its own unique personality. In the late 1990s, I spotted this rock formation while exploring one late-autumn evening. I was intrigued by several aspects of this scene: the contrasting, opposing oranges and blues; the split-personality of the formation, with half in bright sunset light and the other half in dark shadows; and the looming presence of the formation compared to the diminutive form of the lone juniper tree on the left. And above all, a contemplative stillness. Some might say there’s a David-and-Goliath theme here, a sense of immutable power being challenged by stalwart–if fragile–determination. However, I see something else here…a sense of sorrow, a reaching-out from weakness to strength as the tree casts its shadow on the base of the tower in supplication, as if seeking consolation. A sense of loneliness and isolation. I identify with that juniper tree. I feel deeply that sense of yearning to be a part of something but always finding myself standing on the outside, looking in. Try as it might, the closest that tree will ever come to connecting with that rock is by casting its shadow upon it once a day just before the cold night falls. Such is life in the desert; such is life in this world. (Canon gear, Fuji Velvia ISO 50)

“A Few Haiku (54)”

(c) 2022 by Michael L. Utley

(#319)

the trees believed once
before they lost everything
the lies of winter

…..

(#320)

for whom do you seek
there’s no one here but me
long night moon

…..

(#321)

fetch the sickle moon
let us harvest ice blossoms
winter star fields

…..

(#322)

sorrows of autumn
kindle the warmth of winter
the blazing hearth

…..

(#323)

this bitter cold
reminds me I’m alive
and why I wish I weren’t

…..

(#324)

in each flake
a brief eternity
the grief of winter

“A Few Haiku (53)”

(c) 2022 by Michael L. Utley

(#313)

my world begins and ends
at my window
lonely winter moon

…..

(#314)

blood and feathers
the sky falls into my palm
a young boy’s shame

…..

(#315)

calligraphy of sorrow
etched on her wrists
autumn’s demise

…..

(#316)

fast asleep
in the heron’s belly
the stilt hut

…..

(#317)

one cup one bowl one spoon
and a thousand silences
winter’s bitter feast

…..

(#318)

when it’s time to laugh
I will laugh; until then
let me cry