Slow motion serendipity

Several weeks ago in Poetry at Work I contemplated  the  jolting transition from profoundly poetic to harshly prosaic.

Then suddenly I plunge into turbid work-waters, seeking uncontrived rhyme, rhythm, and reunion. Instead jolted by proudly, profoundly prosaic hard harsh habits, I struggle to rescue the dream from resigned remembrance and to surface, to breathe.

Now thankfully buoyed by miraculously new-found and re-found relationships, carried by the tidal flows that touch and disturb even dammed work-waters, I find poetry resurgent enough for shade and sustenance.

That abstract painting  uncannily resolved, unfolded in time since: change and challenge in photographic clarity. Doors closing and doors opening in slow motion serendipity; results crystallised in retrospect.

Therein lies a riddle clear to some, resolved for others in weeks to come.

Truth is some dammed work-waters can drown even a buoyant psyche. 

Salvation lies in the deep tidal flows that despite our plans and protestations lead us resurgent to unexpected places.  .  .  .  .  .

Will 2010 Be As You Like It?

‘All the world’s a stage and all the men and women merely players” says Bill Shakespeare’s character Jacques in As You Like It, Act II Sc vii,

To what story, what climax, what denouement have you renewed your commitment, passion and determination this year?

The evidence is clear that if you set your goal then commit to it by focusing on completing specific actions towards that goal, then you have a very high probability of achieving it. It gets messier if you can’t do it on your own; if you need others to commit and focus on it too.

How can you get those others to want what you want? How can you get them to “buy into” it; to play your game, run your race, act in your theatre; accept your rules and judgement?

Typically you cast yourself as the master puppeteer: as lord of the dance; you pull the strings. A lot depends on your skill and alacrity at manipulating strings: at management.

No wonder then that managers have such a major influence on businesses: by some reports over 70% of employee behaviour is determined by the actions of managers (I wonder who determines managers’ behaviour).

So if your marionettes are not responding as planned, do you become an even better puppeteer: do you contrive with the latest tools, systems and processes to increase control by adding more ‘invisible’ strings?

Or do you seek to breathe life into your marionettes; into their wooden minds, hearts and limbs; risk letting them influence the dance, the narrative, and the score? Do you risk letting them be the stars?

Will they want to stay with your small show? Will they perform like you? Will they covet your role?

Do they understand the play? Does it speak to them? Do they relate emotionally to their roles and to each other. Are the roles shallow, 2 dimensional or are they ‘character’ roles.

Does the play have a universal quality that appeals on multiple levels to different players and its audience? Or is it a cheap circus that abuses its talent?

What are you playing at?

Poetry at Work.

Last week lone-sailing Seascape, my 12 foot, clinker-style dinghy; hushed breeze rushing, bow splashing and wake boiling, I slipped and sliced, suspended on chrome-smooth sky-tinted surfaces, ruffled, disturbed, even annoyed by mercurially agitated warm humid breezes. Mind in neutral, senses wired for sudden shifts, body and boat commune, response-merged pursuing purpose.

Then suddenly I plunge into turbid work-waters, seeking uncontrived rhyme, rhythm, and reunion. Instead jolted by proudly, profoundly prosaic hard harsh habits, I struggle to rescue the dream from resigned remembrance and to surface, to breathe.

Now thankfully buoyed by miraculously new-found and re-found relationships, carried by the tidal flows that touch and disturb even dammed work-waters, I find poetry resurgent enough for shade and sustenance.