An Interview

2017-10 CLP

If you’re curious about my new job as a managing editor at the Colorado Review, check out my recent interview with the English Department at Colorado State University: https://english.colostate.edu/2017/10/humans-eddy-katherine-indermaur-2/

 

Love to all!

Advertisements

New Poem: “American Bison”

Bison rut, Lamar Valley

Photo by Yellowstone National Park

Hello, everyone! Long time no see. It’s been a little crazy here starting a new semester and a new job, but I promise I’ve been up to things. The lovely online poetry mag Muse /A Journal just came out with their gorgeous fifth issue, and my poem “American Bison” (hmmm, wonder what it could be about?) is up alongside some other stunning work.

Check out my new poem here!

Love to all.

New Mexico, Land of Enchantment, Land of Circles

New Mexico, Land of Enchantment, Land of Circles

After two and a half weeks in the high-altitude New Mexico desert sun, I confess my summer freckles have returned. I like to think of them as my skin’s seasonal blossoming. They’re little circular perennials, roots dug deep and hibernating all winter long, waiting for a warm week to reappear.

IMG_1433

Juniper in front of Abiquiú Lake

I stayed in Abiquiú, New Mexico, a rural town outside Santa Fe, in June to work as an instructional counselor for a creative writing class for gifted and talented high school students. Ghost Ranch is now a retreat center, made famous by the renowned artist Georgia O’Keeffe, who stayed there for many summers and eventually lived there full-time.

IMG_1456

Instructor and friend Natalie atop the overlook at Chimney Rock

This was my first time to New Mexico even though its entire northern border is most of Colorado’s southern border. The high desert there was overrun with crooked trees and low brush—juniper, sage, chamisa.

IMG_1390

Trail to Chimney Rock on Ghost Ranch, Cerro Pederal in the distance

At the welcome center for Bandelier National Monument I flipped through samples of dried and pressed plants, matching them to what I’d seen on our hike around the cave dwellings, their ruins. These amazing light brown sandstone cliffs full of holes and pockmarks, made hollow by centuries of erosion.

IMG_1634

Cliff dwellings at Bandelier National Monument

Circular structures ringed with stacked stones were built and called kivas by the Pueblo Native Americans who lived there. These buildings were used in rituals, especially coming-of-age ceremonies for young men wherein the structure functioned like a sweat lodge.

IMG_1637

More cliff dwellings at Bandelier National Monument

Bandelier National Monument is a dormant volcano featuring an enormous caldera, basically the collapsed crater-like center of a volcano since overgrown with grasses, shrubs, and thirsty western high-altitude trees like cottonwoods and aspen.

IMG_1618

Bandelier plant life

As our class stopped beneath some of the less accessible cliff dwellings (reached via a series of ladders) for lunch, we wrote in response to a prompt about rituals, and it occurred to me that the caldera could be seen as a sort of first kiva—the stone circle first laid by some ancient, powerful hand. This is what it looks like when the land forms circles—a collapse, an eruption, layers of volcanic ash pressed into earth, then sandstone.

IMG_1660

Blooming Cholla cactus at Bandelier National Monument

The town of Taos contains the Taos Pueblo, a UNESCO World Heritage site and one of the longest continuously inhabited villages in North America. Here the Pueblo people built their multi-story homes out of adobe brick, which consists of clay, hay, and water.

IMG_1570

A typical adobe home at the Taos Pueblo site

Both the mortar and the plaster which covers the bricks are made of mud. Cedar logs were laid across each structure to help form and support their ceilings. These ceiling also functioned as the floor of the story atop it, accessed by wooden ladders.

IMG_1564

Red chiles as decoration at Taos Pueblo

Because of the materials of these structures, it is impossible to outfit them with modern plumbing and electricity. Our tour guide told me only five families remain as full-time residents here, though many more keep their ancestral homes while they live primarily in the town of Taos, or elsewhere on the reservation.

IMG_1544

A window at the Catholic church in Taos

While walking around Taos Pueblo, I saw a man setting up a table with a display of turquoise jewelry underneath a hay canopy in front of an adobe home. We chatted, and he invited me into the home he said had been the birthplace of his great-grandfather, and inhabited by his family many, many generations before that.

IMG_1555

The Rio Pueblo de Taos in the foreground, and the Sangre de Cristo Mountains in the background

It was a simple, surprisingly cool single room with a small fireplace in one corner. He explained to me the technique by which the Pueblo people made the chimney. They took a cedar trunk and covered it with adobe plaster. Once dried, they then set the wood on fire, which would leave them with a hollow, cylindrical adobe structure. A circle of sky, open to sky.

IMG_1565

One of many art galleries in Taos Pueblo

IMG_1567

A close-up of the bison leather dreamcatcher

One night on a silent walk to Matrimonial Mesa at Ghost Ranch, I pointed out to the students the hoofprints of a deer in the mud. In a place that receives fewer than eight inches of rain a year, it had rained that afternoon. One student had spotted a garden snake who’d been coaxed out of the shadows by the cool rain. And the small, halved circles of the imprints of hooves wandering from the dirt road to the arroyo’s cottonwoods, weaving between chamisa and juniper.

IMG_1541

Desert daisies and pink sunsets on Ghost Ranch

On the mesa that night we watched the scattered, sputtering circles of stars come into being. We lay there quietly, listening to the high-pitched echoes of chirping bats as they drew their own looped circles in the air above. Kivas, nightly natural rituals. Circles in space and time. Each time we return to repeat the ritual, each time we circle back, something is different. We hold constant what we can, but we treasure everything.

IMG_1450

Looking west from Chimney Rock at Ghost Ranch

I live my life in widening circles
that reach out across the world.
I may not complete this last one
but I give myself to it.

I circle around God, around the primordial tower.
I’ve been circling for thousands of years
and I still don’t know: am I a falcon,
a storm, or a great song?

[from Rainer Maria Rilke’s Book of Hours, translated by Joanna Macy and Anita Barrows]

IMG_1512

Sunset over Chimney Rock on Ghost Ranch

Georgia O’Keeffe painted Cerro Pedernal (Flint Mountain) over forty times. The story goes that she took any paintings with which she wasn’t satisfied, drove down the mesa, and burned their canvases right there in the desert. About Cerro Pedernal O’Keeffe said, “God told me if I painted it enough, I could have it.” She returned and returned. She ritualized the process.

Locals heard of her affinity for bones and brought them to her, bleached white by desert sun and preserved by desert air. She painted a series centered on a cow’s pelvis. There are circles here, too—the spaces for each leg, the ball of each femur joint, the socket space. She painted it so close up, sometimes, that you can’t tell what the curves are a part of at all, what the lighting reveals.

Circles form from gravity, from wear and falling and moving and the difficulty of moving. Everything softens over time, forgets its corners, collapses. The desert is a land of circles, the simplicity of curves, the complexity of a single eye.

Visiting the Poudre River

Visiting the Poudre River

As many of you know, I began my graduate studies this fall at Colorado State University in creative writing. An assignment in one of my classes required that I choose an outdoor “site,” which I am to visit on a regular basis, take notes, and then journal about it later. I’ve been visiting the Cache la Poudre River, which runs through Fort Collins, via the city-owned Poudre Trail, for a little over a month now. On my last visit, Friday September 30th, I took my camera along with me. Here are some excerpts from journal so far, along with a few photos.

img_0882

A sign for the Poudre Trail via Lee Martinez Park in Fort Collins, CO

August 20

I arrived at my site at 3:20PM. It was 86° Fahrenheit and mostly sunny, with puffy white cumulonimbus clouds in the north. I was sitting on the south bank of the river, the water flowing east. The river appeared almost a copper color because of the stones in its bed. The current was rather swift –as I could tell by the passing inner tube floaters—like a slow jog. According to the markings on the underside of the Poudre Trail pedestrian bridge over the river, the water was just under three feet deep.

img_0904

Willows and cottonwoods on the Poudre’s north bank

All around me were dogs, children swimming, and more people walking, running, or biking on the paved trail. Through the trees and over the sound of rushing water I could hear people cheering, laughing, and chatting. There was a constant sound of crickets chirping, and an occasional whisper of breeze through foliage.

In the water, a fresh four-foot Russian Olive branch with all its leaves floated by. I noticed stray, straight spider-silk threads in the grass and in the elm branches above me. Slowly a dragonfly flew by me toward the east. Some individual sparrows crossed the river as well. Dogs barked in the distance, and thunder could be heard coming from the north; the clouds grew darker across the river.

img_0913

September 12

I always thought the Poudre River was named after snow powder, especially since it drops 7,000 feet in elevation from the Rockies through a narrow, chiseled canyon, to conjoin with the South Platte River east of Greeley, Colorado. It actually refers to French Canadian trappers, in the early 1800’s, hiding their cache of gunpowder there during a particularly bad blizzard. The Poudre River is Colorado’s only nationally recognized “Wild & Scenic River.”

Behind me, a woman running west clears her throat. Two bikes tick east. The sun clouds over.

September 17

Today the Cache la Poudre River is just over one foot tall, the pedestrian bridge informs me.

img_0912

This means about 775 gallons of river water, of Rocky Mountain snowmelt, are flowing beneath that bridge every second. What seems like a humble stream to the eye—especially with monumental rivers in my mind, the Colorado and Snake nearby, the New and Mississippi and Chattanooga out east—is really a powerhouse, always on the move. Small yellow leaves are floating downstream, to the east, away from the Rocky Mountains and toward the South Platte River, toward the heartland. I read that brown trout spawn here in the fall, but I see no fish in the clear water down to the copper-y bottom, littered with round granite stones. Sometimes I hear the fish—a sudden catch of water, white flash slap above the surface.

Along the bank two blue jays stutter squawks at one another. One flies into view and lands on a yellowing cottonwood branch. His body is a jewel blue and he wears a white collar just above his breast, beneath a blue cockscomb. Later I learn this is the edge of the blue jay’s livable range, as far as they come; the foothills of the Rocky Mountains halt them the way they halted railroads, the way they still halt clouds and precipitation.

I think about the river, about the trout. What would it feel like to live in water constantly flowing in one direction? Not like an ocean where the tide is a rhythm of give and take, but always east, the way our ancestors felt pulled westward continually. I ask a fisher friend about the trout—the brown, the rainbow, the cutthroat. He says you can often go back to the same spot on the Poudre or Snake or wherever, the same hole or stone, and catch the very same fish—they don’t stray too far. My concept of fish life has been shaped mostly by the story of spawning salmon and—let’s face it—Finding Nemo, so this was news to me, that fish don’t drift or migrate or explore in spite of the debris that floats right by, that the river doesn’t become their timeline on which to travel. I thought a good metaphor might be that little conveyor belt in sushi restaurants that slowly slides enticing sashimi and rolls right before your eyes, for the taking. I guess a river might feel more like that to a fish—food constantly coming and going all day, all night, abundance set spinning by the engine of gravity, by the churning of season, of freeze and thaw.

September 22

I count thirty-five bleats of train horn in the span of several minutes. A helicopter hovers somewhere to the south and car engines rumble to the east. Behind me, bikes pass and dog leashes jingle. Occasional bits of conversation slip through the weeds—two students stressed about the new semester, a mother making safety-related requests of her young child on a miniature bicycle, two middle-aged women building each other up. A propeller plane’s engine rattles from above, behind cover of low, gray clouds.

img_0888

Cottonwoods framing the Poudre River Trail

I have just heard how little land in this country remains untouched by human-generated noise. If not an interstate, then a highway. If not a highway, then a railroad. If not a railroad, then trails for ATVs or snowmobiles. If not a trail, then a reservoir with a marina. And if no marina, then planes etching their contrails above, or helicopters leading rescues of people lost in the wilderness. Silence deserts. The scarceness of silence. This must have devastating effects on animals, especially those who rely on their hearing to find prey, to hunt, to stay safe, to not become prey, to survive.

When I hear a sound—a splash of water, birdsong, crackle of twigs or dry grass—I hope for a sighting of an animal—a trout, a blue jay, a crow, a grasshopper. When animals hear our omnipresent noise—engines whirring, tires squealing, horns honking—what do they hope for?

September 30

All the vegetation and leaves are more yellowing today, rustier—oxidized colors. There was a light drizzle all morning. My field notes are speckled with the occasional raindrop ink-stain. The Poudre River was measured at two feet high, higher than my last visit because it’s been raining up in the mountains, to the west.

Little white wildflowers upstream catch my eye. I walk over unsteady pebbles and a large cottonwood root to get to them. The root is far enough away from any trees that it’s impossible for me to tell to which it belongs. Each flower is in various stages of unfurling—some are fully open, dripping their petals into their watery reflections.

img_0936

As best as I can tell, the flower is Carolina Bugbane, or Trautvetteria Caroliniensis, which is native to this area

img_0951

Carolina Bugbane is in the Rananculaceae family, or the buttercup family, and seems to prefer wetter habitats

I find myself thinking how it would feel to live in a river that can get as low as one foot deep—to have distance infinitely available to you (seemingly), but know your explorations, your knowledge, were all limited to one foot by the width of the river by its length. I suppose human life, until the inventions of the airplane and rocket-ship, is fairly limited in that way as well—we’re basically stuck to the earth’s surface, most of us. This, I think, is the origin of the desire to fly, our envy of birds. We can’t see the earth’s rotund nature from our limited depth, the slice of air in which we live. We’ve had to escape this space to see the world for what it really is—a sphere remarkably like and unlike any other.

img_0941

Save

Announcement: Grad School!

Reading and writing are two of my earliest loves. My mom is fond of recalling how, on my first day in kindergarten, I read aloud Dr. Seuss’s The Cat in the Hat for the entire class. When I was perhaps 8 or 9, my dad gave me an old IBM Thinkpad that ran Windows 95. It sat like a immobile black cinder-block on my desk in my bedroom. I would either play Solitaire or Minesweeper, or compose an endless string of short stories in Microsoft Word- historical fiction, mysteries, etc. In the third grade, I hand-wrote a 40-page (wide rule, obviously) novella that supposedly took place in Europe during World War II, inspired by my collection of dolls. I remember swelling with pride at its length while I stapled the pages together; it felt like a true feat.

I don’t remember the first time I tried to write a poem. I know I played with composing lyrics for songs first. I would sing made-up melodies while pumping my legs on a backyard swing, then share the ones I liked most with my neighborhood friends. I was constantly imagining vibrant backstories for things I encountered- people, trees, animals, cars. One of my favorite recurring daydreams was, while my family drove anywhere out of town, to imagine what my life would be like if I’d had some connection to any of the little places we passed by. What would I be like if I lived behind that sandy shrimp shack? What if I’d gotten lost as a little baby and been raised by the foxes in that abandoned field? What if I’d grown up in that old farmhouse on this Christmas tree farm in the Appalachians?

In high school I was lucky enough to find a year-long elective course focused solely on creative writing. The first time I took it, I was a sophomore. The second, I was a senior, and my counselor informed me, concerned, that I couldn’t receive any credit for this course the second time. Fine by me! We were assigned powerful readings by the likes of Mary Karr and Annie Dillard. Anyone who’s taken public high school English knows how seemingly anything written after 1985 is excluded from the canon, making this all the more incredible. Literature was alive, and it was still beautiful.

During my undergraduate years, I knew I wanted to study English and creative writing, and pursued them fervently. I took a creative writing class every available semester, eventually culminating in a year-long poetry seminar with some pretty amazing folks for whom I’m still so grateful (you know who you are!). After graduation, my writing grew as aimless as a broke teenager set loose in a shopping mall. I published a couple poems in local journals, and tried writing without anyone to tell me what worked, and what sucked. I knew I needed to enroll in a MFA program to further hone my skills as a reader and writer.

All this to say that, come fall, I plan to enroll in the Masters of Fine Arts in creative writing program, focusing on poetry specifically, at Colorado State University in Fort Collins, Colorado. This is a 3-year program offering excellent faculty, intensive writing workshops, courses, and many opportunities for work and studies in teaching and publishing. I am excited to be taking this substantial step forward in pursuit of my passions.

CSU

Though the details are obviously still in flux, and will be for some time, know that Fort Collins is just over a 1-hour drive from Laramie, which is in the realm of totally manageable for Matt and me (and Boone!) now that I own a car with all-wheel-drive. While it won’t be the easiest transition in the world, 3 years doesn’t seem like forever to me anymore and, moreover, the prospect of spending those 3 years working on something so dear to me is exciting.

Thank you to for your part in helping me get to where I am, whether it’s been years of work (thanks, Mom & Dad!) or a couple minutes reading this blog post. I appreciate you.

Love to all.