Author: Green Shinto

Body parts charms

Photo courtesy Kyodo

(The following is excerpted from an article in the Japan Times. For the full article, see here.)

OKAYAMA – Many shrines and temples in Japan sell amulets for good health, but a shrine in Okayama Prefecture is famous for offering more than 50 varieties of charms for different parts of the body or symptoms.

The unique amulets offered at Nihon Daiichi Kumano Shrine are the brainchild of the shrine’s 74-year-old chief priest Mitsuyuki Sato, who has a history of heart and liver disease.

“We have more categories than (departments) in a general hospital,” Sato said. “I hope the amulets give people hope to get well.”

The shrine started to sell the specialized amulets around 2007. With many visitors to the shrine praying for good health, Sato first introduced amulets for the liver, lung, heart, kidney, and spleen after talking to worshippers and workers at medical facilities.

Sato came up with the idea of a synapse amulet when he took a dementia test and heard from his doctor that “synapses connect brain cells.”

The synapse amulet, launched in 2019, has proved popular not only among people suffering from dementia and those hoping to protect against it but with parents wishing academic success for their children, Sato said. “I guess they are praying for a good memory.”

Kami (Olivia Bernkastel)

Kami explanation by Olivia Bernkastel (Konkokyo Shinto priestess)

Olivia and friends on a visit to Kyoto last year

To worship kami, there is always a “goshintai”; or a sacred vessel for the kami’s spirit/energy which is considered as a “body” for the kami to alight to as a vessel permanently. This allows their energy to be present strongly with worshippers and clergy at a shrine.

There is also an item called “yorishiro”, which is a sacred item that calls to, or draws a kami’s energy. When the kami enters the yorishiro during prayer, it becomes a temporary goshintai, or vessel for the kami to dwell. After prayers finish, the kami leaves the yorishiro until the next prayers.

All shrines have goshintai, but at home altars, or kamidana, generally only have yorishiro, commonly in the form of ofuda. There are a few exceptions to this, one example being Fushimi Inari Taisha which does a special ceremony for sincere members, and thus ordinary people can receive a goshintai of Inari Okami to caretake at home.

Nowadays yorishiro usually takes the form of an ofuda, but as well natural items like a rock, tree, or gem can also be yorishiro. Gohei are used as goshintai, but they were also the original kind of yorishiro, before ofuda. It was standard for most kami. Mirrors were also quite common yorishiro, especially for Amatsukami. You can pray to kami anytime anywhere, but to have their energy presence alight near us, goshintai or yorishiro are needed to be present as the kami’s vessel.

Gohei stand

There are two kinds of kami traditionally. Amatsukami (Heavenly kami) and Kunitsukami (Earthly kami), with some kami in-between, or having aspects of both.

For Amatsukami, or kami in-between Amatsu and Kunitsu, the goshintai is a physical item. This is because Amatsukami and kami in-between usually are not tied to any particular Earthly feature.

Amatsukami and in-between kami need a physical item as a goshintai or yorishiro. Commonly a gohei, mirror, sword, or gem. It is because their true “body” is celestial and not Earthly or an Earthly location –  like the sun, moon, sky, clouds, universe, etc. Or,  something not tangible like Amatsukami of concepts, or non physical things. For example the kami of wisdom, Omoikane no Mikoto.

For Kunitsukami, the goshintai is usually an Earthly feature, such as a mountain, tree, rock, lake, ocean, or particular location, such as Mt. Fuji for Konohanasakuya Hime no Mikoto or Mt. Miwa for the kami of Omiwa Jinja.

A good example is Lake Suwa region for Suwa Daimyojin, with local folklore saying Suwa Daimyojin cannot leave the lake. So what should one do to worship him outside of Lake Suwa region?  A new goshintai or yorishiro can be ritually made for him. There are Suwa branch shrines throughout the country. But how?

There are two main methods. One is at the main shrine (in this example, Suwa Taisha); a new goshintai is ritually made for the kami to be brought elsewhere at a new Suwa Shrine branch location. The other way is the new goshintai is ritually created at the new Suwa Shrine branch itself.

A small Inari shrine with an ofuda between the two white foxes.

What this means is that Suwa Daimyojin can be worshipped anywhere with the ritual creation of the new goshintai. This is called “bunrei” and the ritual ceremony is “kanjo”.

To describe bunrei with a metaphor: Let’s say the main shrine, Suwa Taisha in the Lake Suwa region, is the original “bonfire” of energy for Suwa Daimyojin.

Bunrei, and the ritual ceremony Kanjo is like lighting a “torch” (part of energy/spirit) from Suwa Daimyojin. When that torch is used to make a new “bonfire” at another shrine, the flame is from the original “bonfire” or energy/spirit of Suwa Daimyojin. Thus, they can be directly present both at Suwa Taisha and in the branch shrine. Of course it may be slightly stronger spiritually at Suwa Taisha due to the location’s own power and history.

While bunrei for goshintai is like lighting a torch from the original bonfire to create a new bonfire in another location with the original flame – creating ofuda, or a yorishiro, is like creating a “candle” which when you “light with fire” (pray) the kami can enter that “flame” (energy) temporarily during the prayer.

This is generally how kami have spread from their home area or original place of worship to shrines all across the country. A shrine overseas is no different and the same process can be done.

There are of course local spirits  and ancient deities in each country, but I feel they should be respected in their own traditions rather than having Shinto rituals for them.

I personally think it’s not too respectful. When I lived in Canada, I simply left biodegradable offerings in the woods and said thank you to the local deities rather than doing a Shinto ceremony. I kept a kamidana in my home with an ofuda for the kamis who needed them and worshipped no different than in Japan.

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Suwa Taisha, dedicated to a prime example of an ‘earthly kami’

Poetry’s divine origins

In a preface to the tenth-century Kokin Wakashu, the poet-courtier Ki no Tsurayuki describes the divine origins of Japanese verse.  What interests me here is the origins of the 5-7-5-7-7 syllable pattern of short verse (tanka). As this was later adapted to the 5-7-5 of haiku, it’s a hallmark of Japanese poetry.

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Verse came into being when heaven parted from earth.  Legend has it that in heaven it began with the verse of Princess Shitateru, wife to Prince Ame-wakamiko, and on earth with the song of Susano no mikoto.  In the age of the gods, the number of letters of the tanka (short verse) was not fixed.  It flowed forth as the heart wished to sing, but it seemed the meaning was difficult to understand.  Susano no mikoto wrote in 31 letters.  When he was building a palace in the province of Izumo to live with his wife, he saw eight-coloured clouds rise, and composed the following song:

Eight clouds arising
In Izumo where they formed
A fence eight-fold in nature
Within which the spouses lived –
An eight-fold fence, eight-fold fence

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Hopefully there are some poetry experts reading this… Robin Gill, Stephen Gill, Gaby Greve….?  I wonder if they’d agree with my thesis that since Chinese influence was prevalent in Japan after the sixth and seventh centuries, the likelihood is that the 5-7 syllable pattern arose from Taoist numerology and the inclination to see odd numbers as favouring ki vitality and energy flows.  it’s reflected too in the 7-5-3 children’s festival…

 

Nervous participant in the Shichi-Go-San, which officially takes place on Nov 15

The spirituality of haiku

On Saturday I went to see a renku (linked verse) session, held at a subshrine of Kitano Tenmangu as an offering to the kami. This being Japan, and Shinto being Shinto, ritual was of the essence throughout. There was even a lengthy ritual of preparing the honorary ink-stone and brush – though they were not actually used since the verse was written in pencil !

A dance for the gods

Renku are usually 36 verses in length: in this case thirty had been written beforehand, leaving six to be composed on the spot. At their completion there was a dance performance with singing of the verses.  Divine!  The next day a follow-up was to be held at a Buddhist temple, showing that the syncretic spirit lives on in linked verse as elsewhere.

Chanting the written verses

 

 

 

 

 

 

A poetic week
One way and another I’ve had a most poetic week, rounded off with reading Chinese Tang poets and the Tao Te Ching today with my friend, the Taoist-Tibetan sage A.J.

Worldgirdling
Spacegracing
Passionenergy
Insightplay
Fallingwordfun

On my return from our café klatsch in the autumn rain, I was reminded of the following rather wonderful description of the spiritual aspects of haiku.  It makes clear why verse is such a suitable offering to the kami.

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“Let me explain what I think haiku can do for the spirit. I believe that all the great sacred traditions show that consciousness began with only inner light, in a time when humanity was in union with a Supreme Being and Creator… The haiku woman or man (rather than the poet) is a person who stands inside a chaotic darkness and waits. This is not an idle way of waiting; it is alert, conscious and focused. What do they wait for? They wait for the lightning to strike – that lightning which illuminates the world around them.

To look at the world boldly, in the sudden light of haiku consciousness is to commit an act of love and complete understanding. Looking becomes presence – the gift of seeing, in depth, and with the power of discernment. It is a kind of satori beyond the critical mind and devoid of criticism. Compassion permeates this kind of mindfulness and attentiveness. Haiku leads us in the right direction, homewards, in a process of rediscovery and reassimilation of our compelling and inherent universal values.

In today’s prevailing atmosphere of chaos and disorder, haiku consciousness brings into focus the ambient disruption and cacophony, while highlighting the need for serenity, for the homecoming. We have lost sight of our own nature in the whirl of the day-to-day, in the fog of petty concerns. The quotidian overwhelms the crucial values of our existence; myopic greed and consumerism have put us at odds with our environment, with our only planet. Through haiku we can inch closer to a reconstruction of the lost harmony between ourselves and nature.

There are many words for what we have lost; our Tao, our way, our union with the gods, our fullness, our wholeness, our completeness. There can be no other remedy but a return to older ways of thinking and feeling. Haiku creates a new old completeness of Earth and Heaven, Man and God, visible and invisible. Through it we can train ourselves to regain our old consciousness.

This is my agenda for haiku consciousness; to awaken our metaphysical sensitivity, open our eyes wide, and—in a flash of understanding of all our blind decisions and wrong turns—finally choose the only tenable option, a soothing spiritual path to heal and recuperate, path for which we can use the same name as ancient traditions did – Tao, the Way, Eternal Home.

We must learn or relearn how to give love and how to receive love.”

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Extracted from Dr Drago Stambuk’s keynote address to the Asian Conference on Literature and Librarianship, 2011, in Osaka

The Heian-era verse writing festival held every spring at Kamigamo Jinja

Proto-Shinto in Manyoshu Poems

The convivial discussion group I belong to meets monthly and discusses Japanese poetry in translation. Recently we’ve been looking at the eighth-century collection of poetry called Manyoshu, first of the great imperial anthologies.  There are 4516 poems in all, some dating back as far as the fifth and sixth centuries. We’ve been focussing on the Best 100, which you can view for yourself. It’s rewarding stuff, and the conversations have been so rich we’ve only managed about ten short poems in two hours.

Amongst the Manoyshu verse can be found glimpses of the early religious sentiment of the Japanese. ‘Shinto’ as a concept was first used in the Nihon shoki of 720, to differentiate the native tradition from imported Buddhism. Before that there was a holy mess of differing cults and beliefs, comprising everything from fertility rites to shamanistic rituals and rock worship.

The Yamato basin showing one of its three hills

One of the most famous poems concerns the three hills of Yamato, the ancient heartland of Japan located near modern-day Nara.  About five years ago I took part in an organised outing around the three hills, which made for a pleasant day’s hike full of historical associations. The walk finished at Mt Unebi, at the base of which Emperor Jimmu was supposedly buried and where Kashihara Jingu now stands.

In the poem the three hills are imagined to be in a love triangle, with two males vying for the hand of the female.

Mt Kagu strove with Mt Miminashi
For the love of Mt Unebi;
Such is love since the age of the gods;
As it was thus in the early days
So people strive for spouses even now.

Naomi Kawase, director of Hanezu

By one of those odd coincidences, I saw a film last week based on the poem.  It was called Hanezu and featured a love triangle in present-day Yamato, where a young woman living with one man was having an affair with another.  The film has a slow pace, voice-over rendition of the poem, and a rural lifestyle suggestive of unchanging ways and traditional patterns.  It isn’t ‘a must-see film’, for the characters were not fully developed and the story unconvincing.  It did give a sense though of the ancient poetry being embedded within the landscape, and within the Japanese soul.

Religious sentiments

But what of the proto-Shinto elements in the Manyoshu? There’s an interesting piece about this in the foreword to 1000 Poems from the Manyoshu written by Seichi Taki.  He was writing at a time of State Shinto in 1940 and glosses his remarks with sycophantic imperial sentiments as one might expect.  Nonetheless, he makes some key points.

The spirit of the sun, personified

1) The move from non-personfied to personified
At the beginning of the Manyo period (around the fourth and fifth centuries) there were various beliefs in non-personified mysterious powers, through natures spirits, to personified deities such as ancestral and tutelary beings.

With the rise to hegemony of the Yamato state, personified kami come to dominate.  In other words, as the power of the emperor increased, so did the significance of Amaterasu and clan deities allied with the imperial cause. This encouraged the personification of nature and other spirits.

2) The will of the gods
The will of the kami made itself felt in a variety of ways, through dream, divination, oracles, omens, superstitions and the random acts of everyday life (such as being struck by bird droppings – there’s an amusing story of Abe no Seimei pondering the mess on the head of one unfortunate nobleman).  Official divination, carried out by the Urabe clan, included deer shoulder and tortoise shell techniques, which from what I’ve gathered consisted of reading the cracks in them after they had been roasted, much like reading tea leaves.

One of the techniques particularly appeals to me: the Evening Oracle.  This comprises going to a crossroads at dusk and listening to the snatches of conversation of passers-by.  The words would contain hints as to the will of the kami. How very New Age!  A Dark Age equivalent to the I Ching casting that was so popular in the 1960s…

As for omens, the coming of a lover was signalled by an itch in the eyebrow, a sneeze, or the girdle coming loose (!).  One of the poems makes reference to the belief that thoughts of those at home are transmitted in some way to those travelling.

As I pass over Mt Shiotsu,
My horse stumbles;
Perhaps my dear ones at home
May be thinking of me.

3) Styles of worship
Worship was either in supplication or thanksgiving.  The description Seichi Taki gives of “Manyo man” is oddly familiar and yet engaging in its directness and difference from the modern day…

“Generally in worshipping his god, he set in the earth before the altar a sacred jar filled with saké brewed with special rites of purification; hung up mirrors and beads on the sacred posts; tied his shoulders with a cord of yu fibre, presented the sacred nusa (purification wand) ‘with the sakaki branch fresh from the inmost hill’, and bending on his knees receited his litany (norito)… It was his ideal of life that he should keep himself clean in body and soul, and in constant communion with his gods, to obtain their protection and thereby live and work in a happy world.  The Manyo man lived in a world peopled by multitudes of gods and spirits, genii and fairies.”

Next week I’ll be going to see that multitude of gods at the kamiari festival at Izumo on the Japan Sea.  All of the country’s eight myriad kami gather there and are welcomed in an ancient rite held on a beach at dusk.  It should be an exciting occasion. More of that anon….

 

Getting into the spirit of rock

The island of Shiraishi in the Inland Sea is studded with rocks of so many sorts and sizes that you can’t help being ‘struck’ by them.  Small wonder it’s called White Rock Island, and that sacred rocks are numerous.  Some are distinctive in themselves.  Some have a brooding presence.  Some are sanctified by tradition.

Shiraishi's Big Spirit Rock

The Okunoin of the island's temple

 

There’s a power stone lifted by a superman called Ichirobei after he had prayed to Kobo Daishi, the legendary founder of Shingon. Daishi supposedly meditated on a large rock, beneath which is the Okunoin of the island temple, showing that Buddhists too feel the power of rock.

The island boasts a rock that looks like a warrior’s armour, and one that bears the ghostly visage of a slain samurai at a shrine dedicated to the Genji-Heike war victims of the twelfth century. There’s a rock which is celebrated as a phallic symbol, and there’s another in a womb-like opening that resembles a woman’s anatomy. The hills are alive – with yang and yin!

Long live rock!

The power stone of Ichirobei

What is it with Japan’s sacred rocks?  Why are the kami so fond of rock?  For years I couldn’t understand.  None of the books on Shinto offer explanations, and the priests I talked to had little to say beyond the observation that kami manifest there.  But why rocks?  And why did kami travel in ‘rock-boats’ in the mythology?  If you’re going to travel through space, rock doesn’t exactly spring to mind as the obvious material.

It was only after reading Mircea Eliade’s The Forge and the Crucible that I found an answer.  ‘The stone parentage of the first men is a theme which occurs in a large number of myths,’ he writes.  ‘Stone was even believed to be the source of life and fertility.’  Say what?

It seems for ancient humans rock represented absolute reality. Something durable, ever-lasting and undeniable.  It contrasted with the ephemeral world of humans.  It was a rock of ages. Moreover, it gave birth to minerals and jewels.  It was not only alive, but had mythical and magical properties.

I’m a huge fan of Alan Watts, who continues to live on in a virtual afterlife thanks to ipod broadcasts. ‘Rocks are not dead,’ he declares in one of his talks, proceeding to illustrate the point by suggesting that if aliens were to visit the earth they would not think of it as a dead rock floating in space but as one that had spawned life.  In the same way that trees bear fruit, earth has produced living creatures.

Kami as rock stars

The spirit of rock permeates Shinto.  Kami manifest in rock.  They travel in rock boats.  They inhabit spirit-bodies made of rock.  They gather round the rock cave of Amaterasu, and they have a celestial rock seat. In a sense they are truly rock stars.

In Myth in History Peter Metevelis claims that ancient Japanese thought that the sky as a whole was made of rock.  It’s perfectly logical if you think of meteorites as bits of the sky that have fallen off. Not far from where I’m typing this is Mt Kurama, where one of the deities worshipped at the temple is Mao-son who supposedly dropped to earth from Venus thousands of years ago.  How did the deity travel?  Not in a spaceship, but in the prehistoric equivalent: a rock-boat.

Bikuni iwa on Shiraishi Island, focal point for the hill as a whole

In Shinto mythology, when Izanagi escapes from the death-tomb of Izanami, he seals up the burial place with a rock.  It’s similar to the way that ancient rock tombs were sealed with a stone door.  Over time the rock of the door came to symbolise the dead spirit behind it, as if it had absorbed the soul of the deceased.  In this way rock, death and spirit were closely associated.  To the neolithic mind the idea that rock had spirit was as much common sense as it is strange to us.

Mountains are the closest humans can come to heaven, and they make a natural landing place for the descent of kami. Rocks one-third up a mountain served for early worshippers as a focal point for the mountain as a whole.  Rocks with a special shape, or of a special nature were seen as sacred, possessed by a divine life-force. In this way rock came to act as the interface between the natural and supernatural worlds.

Sacred rock;  sacred mountain;  sacred earth.

Honouring the spirit

Gateway to another realm

 

The rock face of an unseen world. An accompanying sign says, "On this rock, Bonji (Sanskirt characters) by Fudo are written. It's said that if you trace these letters with your eyes closed, you can improve in calligraphy or progress in your study."

Shiraishi re-bound (Autumn Leaves)

I’m back from a brief visit to the wonderful island of Shiraishi.  I don’t know how many times I’ve been round the island, but I do know that each time I wander about I always find something new and intriguing. This time it was the shrines to the side of the Shingon temple, another graphic illustration of shinbutsu shugyo (Shinto-Buddhist syncretism). I’ll write of them in a separate entry, but for the moment I want to strike a seasonal note with some more extracts from my long haibun (essay with haiku).

The autumnal tone is apposite, as I learnt to my shock that the population which had been 740 when I wrote my haibun six years ago has sunk as low as 625. It’s an alarming loss, and one that’s mirrored in many of the rural communities of Japan.  Moreover, at least 60% of the population are aged over 60 years of age. Desolate shrines, diminished festivals, dejected kami is one of the effects as traditions come to the end of the line.  All things must pass, but one can’t help feeling some melancholic mono no aware at the prospect…

(The full haibun can be seen here, and information about Shiraishi here.)

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Autumn drew me back to spring discoveries. Retracing half-forgotten paths, I found the views had not changed, and the rocks looked like familiar old friends. Yet everywhere nature showed signs of winding down. A dead snake, drowsy wasps, mosquitoes too torpid to evade a casual swat. No caterpillar visitors now, barely any butterflies.

There was warmth in the greetings of human friends. These included the folk at the island’s sole café-bar and the delightful Amy Chavez, a free spirit who settled on Shiraishi to become the resident gaijin. Freelance writer and entrepreneur, she had managed to set up a yearly cycle divided between island summer, Bali winter and visits back to the US. Many dream of such a life, but few are brave enough to carry it out.

By now the beach lay empty, abandoned by the summer frolickers, yet the clear October days were sensual and warm. Others seemed to enjoy them just as much as I did.

Autumn daze –
Even the bees
Are basking

I was upbeat at being back, and it was not long before I turned to untrodden ways. Like a magician’s pocket, the island seemed able to supply a never-ending series of surprises. Rocks perched on the top of ledges, threatening to topple over at a touch; a bamboo grove of delicate finery filtering rays of golden sunshine onto the darkened ground; a mysterious cave which once housed a ritual round stone. It seemed impossible such a small island could offer so much.

For the islanders the primary concern is self-sufficiency, and in the early mornings one would pass old women on the way to their allotments. These island folk are doughty souls. I once fell into conversation with a sprightly seventy-five year old and complimented him on his vigour. ‘That’s nothing. You see those two,’ he said pointing at a small fishing boat. ‘He’s eighty-six and she’s seventy-nine.’

You could see the dogged diligence in the island gardens, all neat trimmed bushes and orderly plants in the bare ground. I had passed by in springtime but hadn’t taken the time to stop and stare. Now I delighted in the details. Here would be a bonsai, there a collection of chrysanthemum, and over there a spirit house. Round this corner a roof tile with a ferocious devil, round that one a twisted pine.

November drizzle —
The dozing cat
Opens one eye

Bit by bit, I was getting a grip on the island’s history. There were tombs and artifacts from prehistoric times. It was said that the brother of Emperor Jimmu had stayed here in the legendary sweep of the Yamato clan across the Inland Sea. The Shingon temple had been set up in 1183 to pacify the souls of those killed hereabouts during the Gempei Wars, and the harbour dated from Edo times when its construction served to reclaim land from the sea.

Autumn fruit - persimmon

Autumn flowers - cosmos

 

Manji applying some healing power.

 

At the temple’s autumn festival, which featured traditional dancing and the ceremonial burning of prayer sticks, I was given some protective healing by the island eccentric, Manji, using his ascetic powers. A cuddly uncle of a man, he lives in a dilapidated house by the harbour where he exhibits a display of kitsch such that one might take it for a junk shop. A friend to the wild life, he is followed wherever he goes by hungry birds, like a Japanese St. Francis. A friend to children too, he had once dressed up as Urashimataro, the Peach Boy, to welcome visitors to the island. The world needs more like him.

Falling leaves –
But you’re as chirpy
As a child

On my walks I had often come across small shrines and recognised them as part of a miniature ‘88 temple pilgimage’. Many of the Inland Sea islands have them because of their closeness to Shikoku, where Kukai (aka Kobo Daishi) had founded the original. I imagined the Shiraishi trail would take a few hours at most, like others I had walked. I was wrong.  It takes two full days.  Pretty amazing for an island that takes an hour and forty minutes to walk round.

The Edo-era follk who set up the route knew the topography well, for the small shrines are set with geomantic care in places with a numinous aura. Some are in the thick of groves, some on cliff edges overlooking the sea, and some in the clefts of enormous boulders. One even sits inside the ruin of a sixth-century tomb.

 

 

 

 

 

 

 

 

On a walk one day I had an unexpected surprise. Rounding a corner, I found myself faced with a hillside palette of multicoloured hues. There must have been something about the location that compelled the trees to dress up before their colleagues. It felt as if I’d stumbled on hidden treasure. No showy colours, no fiery red maples or bright gingko yellows, but subtle shadings woven into an evergreen background. Not a soul was to be seen: the picture was mine alone.

Autumn beauty —
The deafening silence
Of birdsong

With winter approaching, island life was winding down and it was getting time for me to leave. Morning walks had given way to afternoon strolls, and I spent the last few days walking the western side of the island to view the spectacular sunsets. Sometimes the beauty was so poignant that it tugged at the heartstrings.

A wintry chill –
Hard to hear the sound
Of the setting sun

Before I left, I revisited the table where I’d sat in the spring sunshine and written with such enthusiasm. There was little of the vibrancy that had been so evident before, only the persistent cawing of crows as they returned home. One group flew right across the face of the sun, black spots against the liquid orange, before heading for a small uninhabited island for the night. And as the fiery red glow spread slowly along the far horizon, the busy boats merged into darkness. My cycle of seasons had run its course.

Winter departure:
My heart reaching out
In its wake

 

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