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“It’s only winterbite,” my gardener friend assured me, handing me several mottled leaves from the Christmas Hollys we’d planted last spring in my side yard. Her windblown cheeks, her bulky sweatshirts and jeans, smudged from previous work, bespoke her authority tending gardens. She brightened and leaned over. “See these buds beneath other stressed leaves? Once the earth warms up, they’ll push them off and form new leaves.”

Like the Christmas Hollys, I, too, suffer from winterbite. So weary of wearing long underwear and multiple layers of heavy clothing, so bone-chilled by arctic winds, so leery of inaccurate weather forecasts, so sun-deprived, so tired of in-house walks.

Like everyone, I yearn for the warming sun to quicken my own budding with spring’s pastels: pinks, raspberry, peach, rose …

 

 

It is cold—very cold—and it is still winter.

Somehow that matters little in my warm study when enveloped within Winter Dreams, the subtitle of Tchaikovsky’s Symphony No. 1 in G minor (1866) played by the Royal Philharmonic Orchestra under the direction of Yuri Temirkanov. The first movement, fragile and effervescent, evokes inchoate scenes. Like hesitant sparrows, words surface—putting something out there that wasn’t there before:

Moonlit snow-scapes—wind-startled frozen lakes—flocked mountain pines—brush-filled meadows—gust-sculpted cathedrals—critter-tracks meandering over hills—color-splashes angling down slopes and crisscrossing paths.

Beneath this frozen world, deep smiles thaw my imagination; trickles of water create wiggle-room for my breathing. Like the first morning of creation, Beauty still evokes such things through Tchaikovsky’s Winter Dreams.

Joy surfaces, again and again. We’ve only to receive it.

 

 

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