Here, in the shapely sand, I sink my feet.
It is blue and cold, with a crunch of shells,
little, brittle bells that held the sea,
with the ages fused as one out-breath.
Let them crack! the sound that knows itself
contracts, and shells, worlds, minds go black.
They go: as when a thought cannot resolve itself
and then the baby cries to nurse. You nurse and
the thought returns, freshly cast, and as
her hunger ebbs, it swells into verse.
That curved power supports one work
and then another, the relay of a single
torch. It waxes and slows like a pendulum.
And here are the open ends, the rests,
that let the pivot happen, driven by itself.
My self, in every aspect, is its course...
Obdurate and mean, the way of hate
that hews and fells. O human hells of greed
that grate away the peace of windy breaths
and breed a host of early deaths and pests
af need unleashed by fear, O uneasy dears,
listen now, a sound so common and so near,
the trees, the trees will speak and sing.
Rumble darkly, breath of bark and humble
roots; you wake new shoots.
Earth, farraginous bag of birth,
lift and fall with breath, with all the shifts
of substance settling — the pain of parting's
heavy in your long skin. We bevy
into leaves and buds your sorrow: blinking
thousandfold– the blooms, the bold brows
of branches. We swallow every fallen sorrow
and break that knotted bulk with flossy quakes
of sunsap, bright as filaments, slightly spun
in spiral motion, the sweetest potion-fire,
and all succumb to its hum, enthralled.
Water with its pummel shifts the matter
scatters pieces, ceases after
ruptures, gashes, streams and flashes sculpture
worlds of masses, sashes whirled
of ceaseless washes; water tosses, teases,
fractures lifeless structures, rifles factions,
and fills the globes, the lobes of cells
responsive, slippery with whispers, constant
transfers; water traces, soft and dancelike,
life and ruptures rootless structures, slices
like a master, each conceit with its disaster.
What is forced will fall will fail.
The holy life is the only grail.
Breeze and toll upon the folds of fleeting
winds that bend and hurl, wend and spin
from pole to pole and hot to cold, and blow
inchoate, empty arms and empty moans:
no bone, no form, no cup, no cornerstone
but music, dry and curved as the leviathan flues
of wind so infinite and without hue—
the hush that crushes, writhing up through us
and flushes free with the roar of leaves, the rush—
our breath exchanged for yours, arranged from lip
to leaf, reused, we share a wreath of music
that brea
thes the furls, the pulse, the whorls, the beats,
the central cord of life and lord of senses.
We crack, snap! Our backs wrap in black
and red as the robes of heat lobe and spread
and the incense of our sap uncovers fins
of flame that flick and prick and stick our veins
and suck with lips of smoke the quick of us
and rise, as incense we ascend the skies–
like birds of feathery black, withered, wordless,
spent upon the firmament.
Slower burn our leaves to auburn
as bent as britt
l
e snags, so riddled, rent
by rot they sag and fizzle as the lock
uncoils and all the sunlight walled in soil
alights to grace another face of life.
Ah, flight of angles, leaves entangled, bright!
The webs of leaves, the arcing heave of webs
of green; the change of edge from flame to seam,
from dark to bright with windy flight we harken
to the melody of day to night, of swell
to trough, of bloom to fertile tomb and off
anew to rouse the blood and dowse the root
of space and time, a pulse alive, a baseless
thriving consciousness that conjures lives
from bliss and binds each mind to miss
the truth of what it is. It cuts us loose
but never loses us. Our muse is ever
spooling forth our clay; the source we tool
with powers like her own that cycle round:
creation, sustenance, and thus decay,
concealment: the root of mental fear
and gracious revelation, blessed aim!
You, the art, the act, the artist, you,
the instrument of will, to mess the whole
into opposing themes. You pose as you
and play Macbeth, the man, and yet the daylight,
rose and leafy green, the sea and coastal
scrub tenacious, all the faces of
existence well up from you or else desist.
Cast on weightless clouds,
the massive, vestigial life of fantasy
floats away.
Across the hilltop, with shadows t
orn,
the forms our minds adorn
as something – ragged wings? – float away.
In the grasses, the day of clouds passes.
The tips of breezes on our lashes
flash warm then cool and fly
along our neck, catch the frayed tufts,
then disappear around
the cellophane of tiny wings
into the blue that does not change.
Yet
from this hardy blue
the puckers of white lips of cloud
express.
Again the fantasy begins,
the torsos, seahorses, prows arrive.
Life is this
passage of phantom ships, and the music of the wind
across the ears,
the dissipation into rain, the fresh new grasses.
Honey Bee
flitted through flowers
as fast as she could, back in the hour.
She never felt joy.
The meadow looked gray
until the dawn of one wonderful day,
a beautiful day
when the breeze curled around,
rested and snuggled,
then rose from the ground.
Faster and lighter
than ever she knew,
the wind whisked its tail
and a sunflower grew!
She saw it.
She blinked.
She saw it again.
She smiled her first smile
and did a quick spin.
She flew to the flower
with all of her haste.
She felt in her heart
she had no time to waste.
Welcome to the site of writer and artist Alicia Vandevorst.
The Sea Bell Canticle is a 10-page poem that will be part of the poetry manuscript that I am completing. The poem is about reconnection with the source of life's power, rhythms, and cycles. This vibratory, conscious source is also the source of poetic inspiration.
I finished the libretto for Birnam Wood, a five-act opera, in 2007. The story continues the tale of Macbeth, with a twist that places the forest at the center of the drama. I am modifying its third act to create a shorter, independent piece that would be roughly equivalent to a Japanese Noh play.
The Song of the Forest is an excerpt from the third act.
Here is one of the poems I wrote for the Image City Photography Gallery exhibit, “Clouds: Variations on Prints, Canvas and Silk”. The show traveled to the Yates County Art Center in August, 2008.
And here is an excerpt from The Bee and the Sunflower, a book for ch ildren ages three to six. It tells the tale of a honey bee who follows a mysterious and lovely hum from sunflower to sun and doldrums to wisdom. I am working on the illustrations for this story right now. I also have a series of stories for six to eight year olds underway. The first of these is titled Zesta Rompolis and the Monster.
I practice photography as a form of meditation. The most beautiful images come once my mind has quieted down and I enjoy the scene in my own way. I like to lose the distinction between foreground and background. I look closely at forms rather than things. I focus more on the play of color and light than on the objects. I like to free them from their literal beings. I like translucency. I like when I see dance in a thing.
The images in this set were taken at the old Bristol Valley Playhouse in upstate New York. The couple who envisioned and then ra n this theater for many years had passed away. With the participation of their family, I photographed the space, as a way to let it be expressive once more even in its water-damaged state. The project included the creation of a mandala on the stage floor as a farewell ritual for some of the family.
Alicia Vandevorst has written poetry for nineteen years. Her work centers around integration, heightened awareness, a sense of place, and the relationship between aesthetics and ethics. Her poems have appeared in The American Poetry Journal (Number 10) and Canary, A Literary Journal of the Environmental Crisis. She completed a poetry manuscript titled The Honey Archives in 2010. Other large projects have been a poem for four voices, a libretto, and a set of poems to accompany the cloud photographs of Daniel Crozet. She has written lyrics for her husband's pop songs as well as his choral pieces. Currently, she is completing a version of Cupid and Psyche that combines poetry and theater, meditation and mask-work. Her other project is a series of children's stories, the Zesta Rompolis stories, based on yogic philosopy, especially The Heart of Self-Recognition by Ksemaraja.
Alicia also practices art photography. Her focus is the creation of image worlds. Her first complete series of images was Sex Visions, 2005. No need
to balk; the piece is rated 'G'. The next, The First Year Perspective, was dedicated to her first daughter, Iris, and posted on July 30, 2006. She is currently working on another First Year Perspective, for her second daughter, Serena, and preparing to exhibit an art-for-healing project that occurred in 2008. Also, Alicia's photographs have appeared in several juried exhibits at Image City Photography Gallery and High Falls Fine Art Gallery. On an ongoing basis, her images and heart cards are carried by two local galleries. She has taught poetry and photography at Writers and Books, utilizing the galleries and darkroom of the George Eastman House in Rochester, New York.
Her images are available by custom order as Iris prints or on silk. She also has done some portrait photography. Her portfolio may be viewed online.