Chickens
I love being an animal. // As I sit down to write, in the bedroom, there begins an intensifying chip-chip, bok-bok from outside the front door… getting closer… going past. Oh! I do a little inward cheer.
Our house is partly open to gardens, which surround it on three sides, and these are terraced into different segments, to match the terracing of the farmland. Grace usually begins every morning in the “romance garden”, at one top corner, then works her way down to the lowest level, and increasingly, around to the other side of the house. But to go down, the chicks have to flap down a 1-1.5m drop, and while flapping-falling baby chickens are superheroes, they can’t flap-fall back up again.
So typically, as it gets dark, we catch them and bring them back to the brooding house at night, in the “romance garden”. And although they love their house, (Grace cannonballs into the nest and starts primping in the most self-determined, self-righteous way), the catching process isn’t really enjoyable. It involves E. grabbing Grace first, and as soon as he gets her she screams with the rage of Achilles, and he takes her to the hen house. Then I run everywhere chasing fluffy handfulls of zooming, mind-piercing cheeps, to jumble together in a box, count to make sure there are nine, and carry the box up the walls, grass staining hands and knees, back up to their house, for safety and calm and eventually quiet, which takes me a minute. Okay, so it sounds fun. But they self-express in ways that make it obvious, they hate nothing more than to be separated from each other.
Grace is smart. Mother knows that the humans do not like chickens in the hallway. Chickens in the hallway were a big “no”, in the days of B.H.C.E (before-hatched-chicks era). (Because poop.) But we have perhaps, in an undisclosed manner, changed our minds about this. Speaking seriously, as chicken servants, it’s important to us that they can “put themselves to bed”. And to traverse the human-house hallway is almost the only way for Grace to circumnavigate with her chicks through the gardens and levels, and get them back “home”, on their own. (There is another way, but it is slightly more advanced, somewhat under construction, and not nearly as fun for the chickens, probably, yet. It will “become fun” before there are ten roosters using our main hallway as their favorite place to nongkrong. Believe.)
So again, now. I leap up (!) to watch their transgression from the teras. Grace, who has finally built the courage, leads her chicks through the hallway of the house, past me, “that meddlesome woman”. And mom surely feels like a criminal as she does it, from her extreme expression. No, I will re-interpret. She looks at me like I’m the one getting away with a very embarassing murder. Ok, namaste, Grace.
The final obstacle is a quick leap over the goldfish canal. Bloop, bloop, bloop. And finally, after a grand tour of the premises, the hen and chicks emerge from the hallway out into the “romance garden”, which is their home garden, with the brooding house, where they sleep at night. Safe and sound. It is so familiar to all of them. They burst in nine directions, running and celebrating, peeping about it from all around the little piles of rocks, chukk-chukking with success. It’s a party. Grace is feeling extremely proud right now. I give her a lot of verbal praise and celebration. The first time, going all the way around, to bring yourself and your babies back home. Animals really feel these moments. (And “Alhamdulillah.” I love being an animal.)
Revelation. Every day, she takes them all the way around, shooting for home in the late afternoon. As cool shadow overtakes the green. Grace is following the sun.
(… Salam to all.)
Grace and chicks.
Reversal spells, mulberry stains, and mixed substance. //
Trying to understand everything as (part of) a “natural cycle”.
I send a text to my mother and then read it back over, (why do I do that?), decide I sounded high, think of the times when she has sounded similar, and I always assume it’s a “senior moment”. Time for another coffee.
It’s a “no hope for laundry” day. Sri Rejeki is glued to my lap, she knows what it feels like to be alone in the rain and she doesn’t like it. Not looking forward to chasing chickens in this. Wait, let me re-interpret myself, and speak it outloud. “I am looking forward to chasing chickens in the rain.”
(Doing a reversal spell on my PMDD, which stands for “Predisposition, Monthly, to Demons and Despair”.)
Thinking about traffic in Ubud, wondering what the future of that infrastructure situation is, and then remembering, I don’t have to wonder, because there’s an already apparent progression, from there, to Canggu, through to Kuta. Kuta is the future of us all. (There is no future for Kuta. Kuta is an eternity of unironic tackiness stuffed into hollowed-out cultural ruins, I guess, I haven’t been there for years.) The other relevant question is, where will be the “next” Ubud?
(What is history, if Kuta is where it all ends?)
Bismillahirrahmanirrahim. “Dear Barong, and whatever divine beings may be present in this place. May Kuta (the one that is inside of us all) bloom again with wildlife.”
Nobita (G.’s murai batu, songbird) sings with campur sari-ngdut, not consistently but often enough making harmony that it’s unsettling. Also, Mas K., from the workshop, is singing along with such a charming falsetto, as he (rhythmically) cuts wood with circular saw, that I can’t stop laughing and I might be confused. Wait, I think they’re both whistling… Mas K. is actually weaving his performance back and forth between whistling (with the bird) and singing (with the voice). This is almost virtuosic. And then, a woman neighbor stops by and has a conversation with him from her motorbike, and it sounds exactly like a spoken-word part in the music. And then I realize, I am in the campur sari.
(And this is the mixed substance!)
Rain lets up for a minute, with a hint of brightness, and roosters across the sawah are touching base, communicating, crowing as for their lives.
We go out on the motorbike at night to buy gorengan (fried tempe, stuffed tofu, weci, banana, sweet mung bean, tape). The kid selling gorengan asks me if I like “arang”/charcoal, making a joke about the color of my husband’s skin. I smile blankly. I massage E.’s shoulders a little on the way home.
He did harvest mulberries today, so his feet and hands are stained inky black. (The blacker the berry… semakin pedas the wife.)
When one makes an analogy, one calls attention to a similarity. One should also pay attention to the differences. In this way, one pays attention to everything.
Big rain again. Salam to all.
Witch’s mane and chaos truffles. //
I don’t look at the sky today. It’s too bright.
A discussion about zucchini, which isn’t commonly grown or eaten here, whether, where, and how we can grow it, in the wilder garden, outside the wall. Easy to grow, but the danger of curcubits is that the plants are favorite hiding places for pit vipers (the small green ones) and cobras (the “kings”). One also avoids walking in jungle areas, or anywhere really, without a wide-brimmed hat. Snakes will attack your head and face, from above, which, if you’re very lucky, doesn’t kill you.
Discovering periods of my life I seem to have stashed into dark, cobwebbed corners, so they’ve been barely, rarely remembered. Now, when I think of them, they strike me as odd, alienating, inappropriate. What to do with these memories?
Related: some things you can’t learn until you separate yourself. Dysfunctional situations prevent growth. Situations, institutions, environments, are not surface problems, but deep.
We stop at a small bridge, over a ravine, to collect aren palm fibers, (duk), from a fallen tree. It looks like a witch’s black hair, (it’s used as this, in ceremonial representation, also as mane of Barong), a matted tangle that we tug apart. Afterwards my skin is dry and tight, and sinuses are on edge from the dust.
Fragments of conversation with school children, walking by, two boys and a girl, puzzled to see us. Until we explain, “ini untuk tempat tidur ayam”. They smile, hands on hips, like adults. O iya, of course, it’s for chickens.
Back home. Grace leads chicks to the lowest garden, jumping down a one-meter (or so) drop. They need “assistance” getting back to the chicken house, so E grabs Grace and I grab the cilik-cilik, but it turns complicated as they scatter into a chaotic (cuteness) matrix. Soon I’m Lucille Balling again, chocolate chicks like quick-moving truffles, stuffing in bra, like an expert.
Separating oneself is like separating duk, tangled and tough. It decides whether and where it comes apart, and what comes with it, that you didn’t expect.
Now time for practice. Salam to all.
Full moon, sudah matang, tomato consommé, incandescent orb with eggplant-magenta smudged-charcoal setting, moving through air just chill enough to waken touch, silhouettes of palm trees dark enough to deepen vision, and presence dilates into possibility. Passing fragrance of pandan and frangipani. The best thing about living here is not seeing but feeling the island, how it vibrates as with mimetic electricity, a lucid dream.
On the motorbike, cozy in bright reds, pinks, orange woven scarf, wrapped around face as kerudung, black thumbholes hoodie, black leotard top and flowing layers, sparkling “fancy” flip-flops, holding husband, who’s handsome in black and bronze batik udeng and black bucket hat, and gold-trimmed randai pants, for dancing. We assigned ourselves the task of joy, tonight, and romance, and to get away. It was accordion music, view over ravine, pistachio gelato, single espressos and no distractions. Now, the drive home, through moonlit sawah, is brave, as if night-cleansing, to let busy city streets be forgotten behind backs.
We stop in the street, almost home, to see the moon. Close moment. Then engine off, we glide down the way, tires grinding gravel under sea of cricket-song. Unstrap helmets, put down/take off travel gear, wash hands and check on things to, piece-by-piece, unwind. E. checks the phone for messages of Ibuk. Checks progress on the locking gate, to be installed in front of her home, (the house where she was born), twelve hours' drive away. To keep her safe from wandering feet (and fears and memories and hallucinations). I check cats, asleep, and Grace, who clucks softly from the nest, as tucked-in chicks peek out from mother’s feathers, up past bedtime. We cover brooding house for insulation, shushing chicks, and latch the door. To keep tender bodies safe when the stray cat comes, howling with desire. Jeki will hiss and growl from the screened-in teras. Guardian is her favorite job. But now, aman, and so it’s time for peace and quiet, as goodnight moon, and the subtle art of letting go.
It never seems quite fair, as if, there will always be some tragedy to it. But no less beautiful, for that. The island of gods gives itself to those who give themselves to love.
Honeyed wafer set lightly into smoked amethyst sky. Grace’s nine eggs hatched into nine tiny black puffballs. Nine infant roosters, cheeping-cheeping… and she loves them with an intensity. Selamat purnama✨🌕✨
Grace, sitting.
More chicken news. //
Grace got up to stretch her legs, today, and I counted nine eggs.
I bring Frankie fresh water. He drinks it. I talk to him. He makes soft noises at me. I think we’re becoming friends.
Maybe. Older siblings are like the first trees, they grow tall and big, and younger siblings are like the next trees, they have to spread out, twist around, or find other ways to get light. It’s hard to be either one of these things.
Noticing the swastikas on neighbors' front gates. Here, it’s a symbol of balance. In the West, (its reverse is) a symbol of evil. Again here, a symbol of the instability of symbol.
(Evil remains evil, and, context is everything.)
Moments around which everything changes, or breaks, and I carried her with me, after that. (Writing about Bocara, the pony.)
Admire the optimism here.
I feel changes in my toes, (big toes mostly), the soles of my feet, my knees (twisty jelly), my shoulderblades, my triceps and elbows (little pops), my wrists, the pinky mound of my palms (crampy), my neck (cracking up and down spine), and even in my jaw (unpleasant tension). As the psoas (un)twist, the entire body follows. A crazy tour of the deep front line (myofascial meridian).
Cozy outfit: Soft grey sweater dress over brown-grey tank top, white pajama shorts, light grey ankle socks, charcoal grey buff worn like a beanie, old blue-grey tie-died shawl. Orange chocolate sachertorte and oat milk. Love fake winter.
Salam and goodnight to all.
Waking, as thinking, what we do with time. // Spending or wasting, as of fixed amount, and therefore an imperative, to put to good use. (Better wake up now, then.) Using it. As time is material. Filling it, or, as time is container. A schedule, with slots of, empty blocks on a page. Empty ones to the right, can be filled; empty ones to the left, empty time-passed, and nothing.
A fantasy of time: if only one could have all of that empty time. And then fill it up, past overflowing.
Go to see Grace. How is it she is filling (her) time? What is the action? (I called it sitting.) The eggs (under there) are her contemplations. Or perhaps, she is bodies, these days. Night passes, cold passes, sun comes and light warms. She is still, in the green, gives me nothing at all. (Am I empty?) My time is not hers, or her time is not here. She becomes barrier, wall of the garden, as stillness. A being of no-time, mother-protector of inner-other(s). It is paradise, in there. (And ten tiny, red-blinking heartbeats. InsyaAllah.) I am the against-witch, (against-which), I am the hunger. I am the waiting and the wanting-to-know.
There’s only so much one can do, in the morning. Coffee-making, cat breakfast, floor-sweeping, some laundry. Nongkrong with Frankie, putting shapes on a page. Skip around the old playground, as if forever, then, sent, posted, past. Hang out the laundry, as shadows shorten. Seek shade and retire. Dust returns to floors. As daytime becomes, all at once, too much heat, too much light, too much everything.
Sounds of campur sari (a genre of music, translates to “mixed substance”, combining a core of keyboard-synthesized gamelan, the rhythm of Sundanese kendang drums played for jaipong dancing, and folk-style, song-based storytelling) and power tools, this morning. Overgrown boys climb again to high places, up walls and up coconut trees, flaunt silly moves to make me start. Frankie gets a bath, then put into caged confinement, (still he crows), so he doesn’t disturb (he just can’t help himself) the sitting Grace.
Grace, who sits, and her sitting is her work, as meditation, as keeping the pale, rounded shapes beneath her, such fragile contained cosmoi, safe and warm and hidden, as stirring primary material into life. I have come to see her. She doesn’t move at my approach, nestled in an overgrown patch of green, the closest place to quiet. Her stare is intent, concentrated, full of something like determination. The knowledge of her mission. No doubt or question, no blinking, just full touching, with her heart-holding, feather-breasted body, still. Does she even see me, and if she does, as what? Black eyes on black-scaled face, black with spots of iridescence. Something in her is as when Buddha touches the earth, as Bhumisparsha. I am so impressed, my heart too is touched, to see Grace in her moment.
I say salam, to Grace. I leave her (sitting) there. And I go back to my (wordy) day.
Grace laid eggs.
Peacock blue of eyeshadow on the painted face of a legong dancer in an advertisement on the grimy side of a bus, turning at exhaust-choked crossroads, engines sputtering, growling, purring, vehicles nudging in or tapping brakes to decide who goes first, who next, and who will barely squeeze between them, this (dis-)order is the mystery of a universe and I am on the way (in Sweet Orange) toward Immigration, to answer the call of the government. I shall submit my (not smiling, that’s not allowed) face for photograph, press my fingers one-by-one, as instructed, to red-tinted print-readers, render answers to the yearly questions on relations and activities, and reassure them that no, I do not, in any way, make money. (I should give them a link to my blog, yes?) (No. Just kidding. Everything that happens here is irrelevant to there. Not related at all, in fact, a reductio of interbeing to absurdum. So sacrifice an analogical cock, but not Frankie, maybe the blue eyeshadow?, to the square root of two, for I speak today with the unspeakable and InsyaAllah it will go perfectly to plan.)
(Update: it went fine, I even got a friendly officer, almost impossibly nice.)
Deeply-stacked blanket of grey on the horizon and a prodigal son for coffee. Lunchtime leisure, (this is nongkrong), slow discussion of organization and mobilization, elsewhere, interpretation of natural signs, anywhere, and closer to home, planning lamp configurations, as the boys laugh and assure me with barefooted confidence that motherly love knows nothing of high places. (They may be right about that.) Preparations in the village, celebratory or instructional announcements on a distant speaker, (just beyond the jungled ravine, for Odalan), and occasional mantra. So much competition for Frankie, who doesn’t like the look of the sky. He takes advantage of distraction to explore the workshop, with its precarious planks and mounds of dusty woodchips, scratching to unearth bugs, eyeing us warily from across the yard. As we all wait for the (ever unseasonal) rain.
Laundry day and questionable behavior. //
Midnight, distant crowing, and the helicopter sound from the living room of wings beating before Frankie replies with a hoarse cry (a “doodle”?). He claims supremacy over all. Cocks through the sawah commence with a back-and-forth, in the dark, that teeters out around 00:07. (Some bird woke from a dream, got everyone else involved.)
(Shortly thereafter, I fell asleep, a while after that, woke again, and started laundry in the machine.)
A small adventure yesterday, we all (six of us) drove into the city in Sweet Orange to receive a gift from my visa agent, (of all people), three beautiful, fragrant (and old) jepun trees. My husband doesn’t do business without making friends. (We have two gardens full of jepun trees, all of them gifts.) And the magic of watching relationships evolve from friendships of utility into deeper things.
(But I think all music sounds bad in Sweet Orange. Sweet Orange might have only a subwoofer.)
Something extraordinary about Bali is just how fast things change. We’ve been gone from Ubud for maybe one month and it already feels different. Development, almost all related to tourism, appeasing the bottomless (foreign) appetite for servitude, pampering, the extraordinary…
So urbanized Bali is a scene from the end of the world. Being beautiful and not costing much money, foreigners come here to live out their fantasies. (I don’t exclude myself from this group.) They are visible on the streets in a patchwork of the improbable, (sometimes deeply disrespectful), alongside the ubiquitous ravages of colonial exploitation. This becomes visibility of the same thing that is wrong with everything, everywhere. So Bali’s beauty besmirched is a visible indictment of human being. Not anyone in particular, (the irresponsive anonymity of grouped humans), but the imbalance of the whole (of us).
(Letting anger wane, and) just taking in (again) our utter disarray. (Disco-trance-yoga, anyone?)
Back home. Pak and Bu S. stopped by to help us do a house ceremony, because it was a holiday here. (We were not prepared, I was napping, oops.) They’re an elder couple from the village, like adoptive parents, taking the place of our adoptive parents from Ubud.
(In case you’re not familiar.) Balinese Hindus keep a demanding schedule of ceremonies throughout the year. We don’t do all of them, (religious ceremony is genuinely exhausting), but we do some, including for purnama and tilem (full and new moon) at our house altars, assisted by Pak and Bu S. We observe Balinese customs at our house because the land is Balinese, because these align with ancient customs of Java people, (from the time of Majapahit), and not least, because it keeps us connected with the people of our banjar (village).
(And we don’t do business without making friends. I am still bad at this, I feel like that goes without saying. Sometimes it seems every institution in my “old life” was designed to prevent “making friends”.)
Mostly everyone in E.’s family (and currently staying at our house) is Muslim, although not all have received upbringing in the “old ways”. Interesting conversations happen around this, our seeming plurality of cultural practices, all the time. (Hypothesis, secret: there is only one practice.)
E. said yesterday, (in a bathtub conversation), I don’t care about the music as much as I care about the sound. Sometimes you need to “put the music” in order to make people hear the sound. When he was young he would drop objects into the village well to experiment with sound. Then he got in trouble because too many spoons disappeared.
In the same conversation, me discovering/declaring, (not for the first time), (and he looks at his wife with a serious silence), that writing is a kind of necromancy.
Salam to all.
News of the cold and the iridescent. //
At night, Frankie sleeps in a jepun tree in front of our family room. Tonight (for the first time) I looked over and saw him there, in the dark, an iridescent-, black- and elaborately-feathered figure, crouched on a curved branch. (Very impressive, Frankie.)
Protein shake and krupuk is not a nutritious dinner solution but it is what we call “really Indo-bule”.
What would happen if Thomas Jefferson had invented emojis, and written them into the founding documents? (I know TJ would have been into this idea, heavily. He was in many ways the El-n of his time, which is accidentally too serious to laugh about.)
My 90’s timeline is: 1994, Kurt Cobaun dies; 1997, the release of “Boys for Pele” by Tori Amos; between those I watched My So-Called Life (several times, I think, whenever it came on the tv and my parents weren’t around).
I want to (find and then) buy a wall thermometer. The weather app says it’s 22c/71f, but I don’t believe it. I feel cold. I’m wearing socks and double sweatshirts. Maybe a fire pit is a good idea.
Tropical winter. Reluctant to leave the insulation of blankets, but I go out. I place my feet in a shape of warmth as the rising sun enters, by elongated geometry, from the east. And here, the polyphony of the farm. Roosters with their long-distance proclamations, the consolation of doves, smaller birds organizing casually in trees. Morning greetings and sleepy conversation that gives way to the thumping or sweeping noises of human people at work. A door closes. The hollow jumble of bamboo chimes, and coconut palms shuffle like cards in the breeze. Someplace far away, a two-toned repetition, as something swings on a rusty hinge.
There are things that nobody wants to say outloud. That nobody enjoys. Sometimes you keep those things to yourself, but sometimes the truth starts flying around and then up your throat, like flies that are buzzing inside your mouth and you try to keep your lips shut but the interior sensation gets very intense, then they burst out in a curdled black vomit. Uncontained. Truth sometimes is the wrong thing at the wrong time. Ugly, ashamed, unwanted.
I think of how remarkable it was, the celebration of tragedy. To gather around the stage, as at a communal flame, together in the perfected ugliness of truth. To honor with a feast the maker-revealer of the most exquisitely necessary (you/me/us) problem. (I imagine tragedians as necessarily insufferable, though that could be wrong.) To revere the Muse. As protectors of the city, as if poetry itself could be the shield to defend against everything it artfully spits out. That would be the craft, if one could discern. What power you need from her, what power she has, and the light of day between those two things.
On a bright and fresh morning, with the sun rising-chasing chill shadows away, the sky is not yet blue. Frankie is crowing (with echoes of crowings from all directions). And I say to him, see? That winning is never the only thing that matters.
Ha-ha, you fool. You fell victim to one of the classic blunders. Of putting too much detergent in the washing machine.
Frankie the rooster, offended that we don’t let him walk around the house, leaves three poops in front of the bedroom door.
And the cats already learned how to open the doors.
Things from Today. //
Frankie and Grace (rooster and hen) ate lunch with me and E. today. It was a double date, Frankie purred.
In the afternoon Ibuk goes back into her childhood. She gets very upset at E. for never feeding her (there is some trauma from her past) and believes herself to be surrounded by thieves.
I cried while reading a cookbook, a recipe for “cheddary broccoli soup” (vegan, from Isa Does It). So, it’s that time of the month. (No stove or oven hookup yet.)
Related: my favorite place to go and hide is the (outside but enclosed by a wall) bathtub. Not filled with water, (haven’t gotten to that yet), just a place to lie down and feel cocooned. This and the rustle of nearby coconut palms in the wind are pretty strong medicine. Today Ismail came down from the ceiling and we had a cuddle. Or sometimes E. and I sit opposite each other and just chat and relax.
The mental and sort-of spiritual adjustment from living semi-permanently in a guesthouse to living in a forever-until-you-die-(InsyaAllah) house is profound.
When they say AI what they really mean is an artificial slave, which becomes redundant if you just get human people to act like machines.
When we go to the big western-style supermarket for the first time since pre-pandemic, we are transfixed. Hypnotized. E. and I are pulled in different directions, but we are both pulled. (Managed to avoid buying almost anything unnecessary. But we did buy two cans of La Croix.)
It is almost impossible to find soap or detergent products here without perfume. I hate strong synthetic perfume. No, thank you. “Lavender” that actually smells like “headache”. I would rather smell like cow shit, honestly!
E. has a pinched nerve in his shoulder so I don’t let him carry the groceries but then he won’t let me carry them either, he makes G. carry them, which I do shamelessly appreciate.
Under rain again. Big grey above, sucking sponge beneath, birdcall from all corners. Everyone wants to speak. (Good morning, Frankie.) Knowledge and being known across distance, sound as comprehension. (And what is it you say?) Crowing. A sometime slow sheen, passing in and out of soaking pour, dry under roofs, (mostly), we let the weather check for leaks. You will not know a house until it rains ten-thousand times. (Numbers become abstract, here.) House logic, according to which, demonstration is a demonstration. (And everything is fixable, including you.) Solid structure carries watery indeterminate around the sweet space of human habitation. (A house being clear and present negation.) Emptiness is also comprehension. Toes cold, eyes blinking open, coffee is fire.