It Was Mourning and It Was Evening: A Good Day

2 April 2026

The world we knew is far behind us now.


A yellow mantis squashed on asphalt next to a dry tip of a redwood frond

It’s slow going without the guideposts we’re used to, but I think if we want more compassion and understanding, we must embody compassion and understanding. If we want to be heard, we need to listen. To be free of enemies, we have to allow our animosity to transform; otherwise, when we destroy them, we perpetuate harm and we risk making more enemies of those who love them. Let’s protect ourselves and our vulnerable ones from real and immediate threat when we can, and also let’s be disarming.


Flagstones through green groundcover, alongside which is a tall plant topped with trumpetlike red flowers

In First You Have to Row a Little Boat, Richard Bode talks about the idea of a forgiving boat. Such a vessel rebalances itself if its pilot makes a mistake. It’s not so much like one person apologizing and supplicating and another holding the power to lord it over them—to forgive or not—as it is about the extent to which we rebalance ourselves if someone wrongs us.


A person in a kayak paddling away from a circle of colorful kayaks tied by the shore of a still, foggy river

Even forgiving boats have their limits. A good relationship has a balance of care and forgivingness on both sides, or the ship capsizes, crashes, or otherwise has to be abandoned.


A pale dead fly with an orange abdomen next to a small blue crystal tipped over where a dusty laptop keyboard meets the scuffed edge of the monitor

The lad went down the hill, his bright castles in ruin—even as we all have gone, or must sometime go down the hill with our brightest castles in ruin.

—Harold Bell Wright,
The Shepherd of the Hills


The fly held up in the palm of my hand

I remain in bed a long time before gaining any impetus to arise to a muted, cloudy morning.


The sky is a black and white lattice of branches and rain cloud. A moment not of color or texture but contrast. Highs and lows. Darks and lights. The place where the pain polishes the beauty into gem brightness. This autumn moment when the architecture of the forest becomes uniquely visible has always felt “twinned’ with the self we confront in moments of extreme emotional torque: grief, distress, heartbreak, depression. The shape of our self denuded of its leaves finally shows us where we bent to accommodate another branch, where we permanently stooped into the wind.

—Sophie Strand, “Autumn Soup Recipe”


In the foreground, a salmon-pink geranium bud with lowered head above three other, greener buds, next to a black-painted metal bee garden stake (from MeyerWorks) and a rusty old woodstove; and in the background, a mysterious plank door leading into a forest hill

“David, I never understood until the past months why the Master so often withdrew alone into the wilderness. There is not only food and medicine for one’s body; there is also healing for the heart and strength for the soul in nature. . . .”

—Harold Bell Wright,
The Shepherd of the Hills


On the arm of a crumbling wooden bench among scrub vegetation, a color printout depicting Jesus ascended, with right hand raised and two rays of light, one red and one blue-white, streaming from his torso

In the space where a loved one isn’t, the vacuum of absence requires no medication, only adjustment. Time takes care of it.


A one-legged seagull standing speculatively beside ingrown boulders, where shorn grass meets bare dirt

“. . . It hurt most, when the secret stood between us, and I could not enter into your life, but I understand that, too. I understand why you could not tell me. I, too, came away because I was not strong enough.”

—Harold Bell Wright,
The Shepherd of the Hills


Beyond a deck railing on which is a small pile of chip crumbs, a raven flying off between redwood-forested hills beneath a blue sky in which a short contrail parallels the bird’s flight

What finally lifts me is Raven trilling for walnuts from a tree on the other side of the tent wall and then from directly overhead, making me giggle.



Two ravens flying in clear blue sky over a seacliff

Upon rising, I give nuts and seeds to birds and chipmunks and inhale the scents of the plants, who inhale my exhalations.


My hand holding out sunflower seeds for a chickadee who is perched on the tips of the fingers

A robin perches on the rock in the birdbath and sips.



A rainbow lens flare like an eye through a ray of sunlight shining down over a tiny duckweed-dotted pond

It is a good day, like other days have been and will be. Whatever happens, there will still be good things; whoever’s left will still be doing good things.

Spending more time at home than usual, and caving to multiple walnut requests per day, I’m growing closer and closer to Raven—literally.


I think the pleasure of feeling right is the pleasure of sweets or candy—quick, addictive and simple. The pleasures of encountering the really real are deeper, as satisfying as a wonderful, complex meal.

—Elizabeth Oldfield, “Expanding Eros, or Why Connection Is My Kink”

She now draws very near while I’m depositing little piles of nuts on the Raven Log.

In fact here she is now, the closest yet: perching on a big mossy stump directly behind my right shoulder, at human conversational distance.



Two humans wearing wide-brimmed hiking hats, seated among beach boulders and looking up at a raven perched on a boulder to their right

For an instant the two men paused on the threshold. The room was small, and nearly bare of furniture. In the full glare of the lamp, so shaded as to throw the rest of the room in deep shadow, hung a painting that seemed to fill the rude chamber with its beauty. It was the picture of a young woman, standing by a spring of water, a cup brimming full in her outstretched hand.

—Harold Bell Wright,
The Shepherd of the Hills


A foggy edge of brimming ocean and sandbar, with a single stick jutting up from the sand against the relative brightness of the waves

Seated in Pa’s Chair in the outdoor Living Room, with cup of hot sea-saltwater in hand, I turn to a book about Queen Elizabeth I, which fell into my hand at a free library. There is some English in my blood—albeit not as much as Germanic—so perhaps it has something to tell me about my ancestral path (and, indirectly, on how to make course-corrections).


Knowing that I won’t leave empty handed, knowing that something I’m seeking, something I can’t recognize yet, is here.

—Clementine Morrigan, “Breaking into the Holy Spaces”


Next to a djembe, on one end of a white indoor bench, a small pile of greeting cards topped with one showing a sunflower photo, beside which is a vaguely heart-shaped flat greenish rock about the size of a human palm, around which are arranged five black feathers for right-hand fingers, and in the palm of which is a tiny dried white-and-pink rosebud

Another raven asks for walnuts, but I make them wait. I can’t be trekking back and forth all day for them, bless their hearts.



A bobcat pausing to sit at the edge of grassland and a line of trees, looking pensively off into the distance

“Here and there among men, there are those who pause in the hurried rush to listen to the call of a life that is more real. How often have we seen them, David, jostled and ridiculed by their fellows, pushed aside and forgotten, as incompetent or unworthy. He who sees and hears too much is cursed for a dreamer, a fanatic, or a fool, by the mad mob, who, having eyes, see not, ears and hear not, and refuse to understand.

“The wind in the pines, the rustle of the leaves, the murmur of the brook, the growl of the thunder, and the voices of the night were all understood and answered by him. The flowers, the trees, the rocks, the hills, the clouds were to him, not lifeless things, but living friends, who laughed and wept with him as he was gay or sorrowful. . . .”

—Harold Bell Wright,
The Shepherd of the Hills


The bobcat, now moving forward, still alert to something in the distance

The young woman replied with a hug that made her admirer gasp. “Law, child; you’re strong as a young panther. You walk like one too; so kind of strong, easy like.”

—Harold Bell Wright,
The Shepherd of the Hills


On the back of a metal sign, a black-marker drawing and two stickers of cats, one of which is labeled “Scorpio Moon”


The Sun reflected moonlike in water, framed like a portal by dead vegetation at a cliff edge

Then the moon looked over the mountain behind them, turning Mutton Hollow into a wondrous sea of misty light out of which the higher hills lifted their heads like fairy islands.

—Harold Bell Wright,
The Shepherd of the Hills


The once-again moonlike Sun filtering through fog onto a rippling river, with scraggly vegetation and a jumbled-boulder shore in the foreground and low dunes in the background

“Others pay the taxes; these hills belong to me only as they belong to all who have the grace to love them.”

—Harold Bell Wright,
The Shepherd of the Hills


Three translucent pearl-like objects on rock, as though someone has left tiny marbles or as if water droplets remain as perfectly spherical beads

“They will give you great treasure, that you may give again to others, who have not your good strength to escape from the things that men make and do in the restless world over there. . . .”

—Harold Bell Wright,
The Shepherd of the Hills


A craglike dark shape emerging from the fog on the far end of the stick’s sandbar, preceded by the relatively small shapes of a couple of humans


The shape—closer now, with the stick in the background—revealed to be that of a backhoe, watched by a dark shape in the estuary that might be the head of a seal


The backhoe, coiled like a scorpion, proceeding across the narrow section of sand between ocean and estuary, as a wave splashes beyond it against an old concrete railroad-bed that juts into the water


The backhoe at the edge of the estuary, reaching out into the water to begin digging


The backhoe digging as a wave crashes against the railroad bed beyond


The backhoe digging backwards to form a trench toward the ocean side of the sandbar—which will open the river mouth—as a large wave swells in new sunlight beyond


The newly opened flow of widening river mouth, with two seal-heads rippling the smooth estuary before it

If you want to shrink something,
you must first allow it to expand.
If you want to get rid of something,
you must first allow it to flourish.
If you want to take something,
you must first allow it to be given.
This is called the subtle perception
of the way things are.
The soft overcomes the hard.
The slow overcomes the fast.


—Tao Te Ching, Verse 36, translation by Stephen Mitchell


The backhoe in foggy retreat, reflected in the still-placid estuary


A large flock of birds churning the estuary’s edge, anticipating a flow of fish as the backhoe recedes into mist


Down on the now-sunny beach, big ripples of the river mouth further widening to the sea, with a big crash of a wave on the railroad bed beyond


A humped white beach-log that looks like a dragon head, mimicking an outstretched backhoe or a ripple in the previous image—perhaps the very dragon whose treasure is the three pearlescent gems


Three footprints in the sand leading up to the edge of the new flow, with a pelican flying high in the middle distance


A pelican in flight centered over the new flow, beyond which one human kneels, intently examining something in the sand, and another human ascends a wooden post or tree trunk lodged in the sand diagonally


More dragon-treasure: a golden boulder submerged in sand among gray ones


A view from the cliff edge again, with rays from the unseen Sun (roughly in the position of the boulder above) now low in late-afternoon sky, and the estuary rippling and emptying via a wide channel into the sunlit sea

I remember, I laugh, and I face the sun.

—Rhyd Wildermuth, “Finding the Sun”


A honeybee plying a dandelion flower rising bright like a sun above dull green and gray vegetation


The bee garden stake shown before, now alongside geranium blooms and set off by the plank door leading into the hillside in the middle distance


My hand holding up a yellowed figleaf like a setting sun before a duckweed-blanketed pond mostly in shadow

Crickets sing a love song, calling the night in.



Seen through a portal of two redwood trunks, the Sun’s last rays through the trees at the top of a forested hill

A dog barks in the middle distance.


Freedom finds itself in captivity.

—Nick Cave,
The Red Hand Files #302


A tall scraggly redwood silhouette among other trees, with a forested hill and wispy pastel clouds beyond

As I sink into bed, I feel grounded, in flow.


A left hand holding up a water bottle colored in blue and white streaks, with a turquoise sticker depicting waves and the words “GO WITH THE FLOW”

A few hours of rain come and go. Just before dawn, a drunk girl whoops, by which I am unimpressed, but a couple of inhuman follow-up calls perk up my ears: that might actually be a mountain lion.



Next to a little green-yellow ceanothus leaf on the arm of a weathered wooden outdoor chair, the slogan “COME TO LIFE” among pink stars and curlicues on a bright yellow can

When I go out to pee early in the morning (in the protected overnight spot, with my back to the shower-enclosure rise and one foot on a root), the hills are misty and the sky starry.



My hand carrying a distressed-looking deep-pink seastar across a colorfully pebbly beach

From here, all is magic, the actual sort we only talk about and rarely do.

—Rhyd Wildermuth, “Finding the Sun”


A channel of seawater surging among large rock formations of the sort that a seastar might find homey


A surfer floating in a wetsuit, looking like a lost seastar en route to the rocky shore of a parking lot—or like someone who is missing their boat


The surfer heading down the beach toward the parking lot, having left his board under the dragon

Sometimes when we miss the boat, there’s a chance we might find it again—just in time.



A posting handwritten in colorful markers: “Lost & Found Boat: If missing a Boat Text Shannon”


A reply in black marker, fallen to the ground: “Shannon, please return my text/calls. I lost my boat. Thank you, Justin”

“. . . I—I can’t tell you of that summer—when we were together—alone in the hills—the beautiful hills—away from the sham and the ugliness of the world that men have made. The beauty and inspiration of it all I put into my pictures, and I knew because of that they were good—I knew they would win a place for me—and—they did. Most of all—I put it there,” (He pointed to the painting on the wall) “and the crowd saw it and felt it, and did not know what it was. . . .”

—Harold Bell Wright,
The Shepherd of the Hills


The ravens grooming each other on a driftlog by the parking lot

At dawn, a big gray squirrel who has been coming around lately pulls sunlight through the mist, revealing that things have indeed changed.


The other smiled at the Doctor’s amazement. “I suppose I have changed some, David. The hills have done it. Look at them!” He pointed to the encircling mountains. “See how calm and strong they are; how they lift their heads above the gloom. They are my friends and companions, David. And they have given me of their calmness and strength . . . .”

—Harold Bell Wright,
The Shepherd of the Hills


A burst of seabirds rising from the estuary, on the other side of which are a couple of small clusters of human habitations nestled at the feet of low hills

The hills taught him, and they came at last to stand between him and the trouble from which he had fled. The nights were no longer weary and long. He was never alone. The voices in the wilderness became friendly voices, for he learned their speech, and the poor girl ceased to call in the wailing wind.

—Harold Bell Wright,
The Shepherd of the Hills




To more frolics


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