Evelio’s Garden: Memoir of a Naturalist in Costa Rica is coming in September (as soon as I have a few reviews to put on the back cover). Published by Atmosphere Press, a small collaborative publishing house, it looks almost too good to be true.
I had let it slide for a while (ten years???) after contacting a zillion agents who were not thrilled — although some said it was beautifully written — because in the hurly-burly world of major publishing, a small, even beautiful, book needs a lot of extra work to become its own little profit center.
Even after all the work editor Allyson Latta had put into it, I still lacked confidence after so many rejections, but something stirred me when I saw a call for submissions by Atmosphere Press in a publishing newsletter. After I had jumped through so many hoops with the agents (send first and third chapters; send first five pages and a marketing summary; send synopsis of no more than 300 words, etc.) all this press wanted to see was the manuscript!
Well, that was just too easy, so I sent it — what the hell? — and a few days later I had a note from the publisher, Nick Courtright, a well-known poet in his own right, saying they would like to take it. I was flabbergasted: this was really too easy. So I hemmed and hawed for a few days (was that weeks, Nick?) until agreeing to go forward.
Nick put me in touch with one of their editors, with whom I had an excellent few weeks of working together — he liked it! — and I was beginning to feel a little jazzed. So, here it comes:
Jorge Luis Borges
“A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.”
“I find my position as a poet today a curious one… For a long time I have maintained that the poet’s affair was the individual human soul, the story of it in one man, in my case the transforming of personal emotions into written events. Now it has become impossible to guard one’s soul — death to do it — we are forced to read the papers, and yet I still believe that our job is somehow or other to be above the mêlée, or so deeply in it that one comes through to something else, something universal and timeless.”
When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.
I don’t want to find myself sighing and frightened,
or full of argument.
I don’t want to end up having simply visited the world.
— Mary Oliver
|Every Sunday Creative Nonfiction releases a “Sunday Short Read.” These are always worth reading, and I found this one especially good in its use of similes and metaphors. One can identify with virtually all of them in this piece, and they add a richness that makes the simple ending ever more powerful.
Published in the November 18, 2018 issue of the online journal, Leaves of Ink.
Fine strong planes
pain between brows.
I touch the pain –
Soft ears listen
mouthcurve speak to me –
Curve of back
finely taut at hip
knee leg toes
sharp angles here
and soft here.
Fingers dry and strong
like rushes touch me
in the wind.
© Sandra Shaw Homer, 2018
“For the Homeric Greeks, kleos, fame, was made of song. Vibrations in air contained the measure and memory of a person’s life.
“To listen was therefore to learn what endures.
“I turned my ear to trees, seeking ecological kleos. I found no heroes, no individuals around whom history pivots. Instead, living memories of trees, manifest in their songs, tell of life’s community, a net of relations. We humans belong within this conversation, as blood kin and incarnate members. To listen is therefore to hear our voices and those of our family.
“To listen is therefore to touch a stethoscope to the skin of a landscape, to hear what stirs below.
“We’re all — trees, humans, insects, birds, bacteria — pluralities. Life is embodied network. These living networks are not places of omnibenevolent Oneness. Instead, they are where ecological and evolutionary tensions between cooperation and conflict are negotiated and resolved. These struggles often result not in the evolution of stronger, more disconnected selves but in the dissolution of the self into relationship.
“Because life is network, there is no “nature” or “environment,” separate and apart from humans. We are part of the community of life, composed of relationships with “others,” so the human/nature duality that lives near the heart of many philosophies is, from a biological perspective, illusory. We are not, in the words of the folk hymn, wayfaring strangers traveling through this world. Nor are we the estranged creatures of Wordsworth’s lyrical ballads, fallen out of Nature into a “stagnant pool” of artifice where we misshape “the beauteous forms of things.” Our bodies and minds, our “Science and Art,” are as natural and wild as they ever were.
“We cannot step outside life’s songs. This music made us; it is our nature.
“Our ethic must therefore be one of belonging, an imperative made all the more urgent by the many ways that human actions are fraying, rewiring, and severing biological networks worldwide. To listen to trees, nature’s great connectors, is therefore to learn how to inhabit the relationships that give life its source, substance, and beauty.” – The Songs of Trees: Stories from Nature’s Great Connectors, David George Haskell
It’s rare to run into a writer and coach living just down the road who gets excited about my travel memoir, Letters from the Pacific. (I mean, we’re in remote Costa Rica here!) Happily, Amy Brooks was delighted to interview me for her podcast , Voice Pen Purpose online, instead of at her kitchen table (she has three lively boys). Thus, it is easily available to the anyone in the world who cares to listen, without distractions. Which I invite you to do. It’s a fun interview. Enjoy!
Excerpted from Journey to the Joie de Vivre.
A journey without suspense would be boring. Here in Panama the suspense is when my ship comes in (ha!) and when she departs, both of which facts are still unknown. All I know now, having talked to the Port Agent this afternoon, is that the Matisse arrives sometime tomorrow night and departs in the wee hours of the following morning. At the Manzanillo International Terminal, it only takes 8 to 12 hours to unload and load 2500 containers. Having been through this before, I have learned to be patient. And even though checkout time is 1:00 PM, I’m sure the hotel will have no difficulty charging me for an additional night, no matter what time I leave. This little suspense is completely expected. (Memories of sitting uncomfortably surrounded by my luggage in the Washington Hotel lobby for three hours waiting for the time allotted to take me to the port. The charm of the old Washington disappeared completely when I learned in Tahiti – too late for me to do anything about it – that they had charged an additional night anyway.)
The unexpected suspense this time is due to my leaving behind all my cash and jewelry in the almost invisible safe in the dark closet of my hotel room in San José, Costa Rica. As soon as I opened the closet here in Panama and saw the open security box – much more accessible here than there – I thought, “Oh my God, my stupidity has reached alarming new heights.” Fortunately, I was able to call the hotel in San José and finally, after several hours of calls back and forth with a very kind guy named Daniel, it turns out he can send the money by Western Union and that the jewelry will be sent by DHL or FedEx before I depart.
This is one more cost, along with my emergency dental work and the new watch that I had to buy at the airport to replace the one I lost, that has unexpectedly reduced my travel fund. I am realizing that the unexpected is more compelling when you’re over 65. That’s the lesson for today.
It is worth recording the heroic efforts on the part of Daniel Cubero of the Hampton Inn in San José to return my things to me. First, on company time, he deposited my US$400 with Western Union, which was when he discovered that they would not accept euros (I had stocked myself with those too). So this morning, on his own time, he went to the Central Bank and changed the euros into US dollars and returned to Western Union, where he made a second deposit, then called to tell me that that I could now retrieve them both in a Western Union office that he discovered very close to my hotel here in Panama. In addition, he had Federal Express pick up my jewelry this morning at seven o’clock, and urged them to make a priority delivery, since I am uncertain about my departure time, and he informed me that they will be delivering my things between three and five this afternoon. This is all from one country to another, and jaw-droppingly amazing, and I asked him what would be the cost of the Federal Express shipment, expecting to have to pay a great deal for it. He said, “No, no, no, it’s on the hotel.”
Several times I have expressed to him my groveling gratitude at everything he has been doing for me, and he has said “No, no, you are family. I have put myself in your shoes. I understand your position, and we always want to do absolutely everything we can to help.” I think this is not just Hampton Inn training on the part of Daniel. I think it is also the fact that he’s Costa Rican and a gentleman, and Costa Rican gentlemen treat older women with great kindness, understanding and affection.
The hotel in Panama had sent a taxi across the country to the airport to pick me up. He wasn’t there, as the attendant wheeled me out of Customs, but a quick cell phone call straightened things out. I had said, “But I can take any old cab,” and the attendant said, “Not here, you don’t.” Just then Alexander strode up, apologizing for his lateness. He was a dark lanky, man with a frizz of graying hair and the deadest eyes I had ever seen. I’m accustomed to the openness of Costa Ricans – they meet your gaze, they say hello to strangers on the street – so to meet those dead eyes was like a punch in the stomach. He was polite, certainly, helping me into the back seat of his taxi, but I sat there puzzling over what was so clearly distrust on his part, and the possible reasons for it.
It’s also the custom in Costa Rica to talk to taxi drivers – every encounter is an opportunity to relate to another human being – so I leaned forward and started to ask Alexander questions. He was from Colón, so I was able to ask him if conditions there had improved since my last stay there. This was all it took to get him going, and we passed the hour’s drive very pleasantly. When we got to the hotel, his eyes were still remote, but not as dead as they had been.
Over the next 30 hours or so, I needed a taxi twice to take me to Western Union and back (the first time I had lacked a comprobante number), and I always asked for Alexander, telling him about the fix I’d gotten myself into and listening to details about his family as we dragged our way through the insufferable traffic. And I asked for him again when it was time to take me to the port. His eyes had warmed up by then, and as he left me and my suitcase at the port gate, we shook hands. As it happened, the hotel didn’t charge me the extra day, and I wondered if Alexander had been chatting with the people at the desk about my difficulties so much that they had taken pity on me.
But, ah Panama! First impressions survive – the overwhelming humidity, oppressive clouds bearing down overhead, construction everywhere, a pristine concrete highway slicing through what was once some of the most forbidding jungle in the world, decaying tile in the bathroom, maddeningly slow service, creeping traffic and always, always the question of when I am going to leave.
©2016, Sandra Shaw Homer
As published in the fall issue of the online literary journal, Sky Island Journal
Someone Else’s Poem
by Sandra Shaw Homer
You are proud
to show me your poem
about a feather-touch
some long ago,
and I am pleased to see
it speaks to me
and what is here.
Some other one
inspired your art,
but I know
the feelings are for me
now. (Who was she?
A solitary feather
on a page.)
Perhaps you are ashamed
and wish the poem
had been for me.
A gift of you,
something more of you
to know, touch, smell,
hear, kiss, taste, see.
had I been she
I would not have flown,
I would certainly have known
to stay, and now –
I would be more than
just a poem.