There were three classes of inhabitants who either frequent or inhabit the country which we had now entered: first, the loggers, who, for a part of the year, the winter and spring, are far the most numerous, but in the summer, except for a few explorers for timber, completely desert it; second, the few settlers I have named, the only permanent inhabitants, who live on the verge of it, and help raise supplies for the former; third, the hunters, mostly Indians, who range over it in their season.
Many animals even now spring out of the soil, Coalescing from the rains and the heat of the sun. Small wonder, then, if more and bigger creatures, Full-formed, arose from the new young earth and sky. The breed, for instance, of the dappled birds Shucked off their eggshells in the springtime, as Crickets in summer will slip their slight cocoons All by themselves, and search for food and life. Earth gave you, then, the first of mortal kinds, For all the fields were soaked with warmth and moisture.
He sometimes felt that life was something that had already risen, and all of this, the Jackson Pollack of spring, summer, and fall, the vague refrigeration and tinfoiled sky of wintertime, was just a falling, really, originward, in a kind of correction, as if by spritual gravity, towards the wiser consciousness--or consciousnessless, maybe; could gravity trick itself like that?--of death. It was a kind of movement both very slow and very fast; there was both too much and not enough time to think.
Every being in the universe is an expression of the Tao. It springs into existence, unconscious, perfect, free, takes on a physical body, lets circumstances complete it. That is why every being spontaneously honors the Tao. The Tao gives birth to all beings, nourishes them, maintains them, cares for them, comforts them, protects them, takes them back to itself, creating without possessing, acting without expecting, guiding without interfering. That is why love of the Tao is in the very nature of things.
Neil Shepard's (T)RAVEL/ UN(T)RAVEL takes us from the sublime -- Paris in Spring, sunset on Corfu -- to an unscheduled toilet stop in a Chinese desert as fellow passengers cheer. Yes, there's light at the heart of this book; but darkness too, as the world and the traveler unravel and re-ravel, fall together, come apart. Shepard proves the best sort of traveling companion -- lively, observant, incisive, eloquent, charmed by the strange and familiar, the old and new. Climb aboard these poems. Enjoy the ride.