Of a Man, His Dog, and a Stick

The immeasurable joy that a pup feels upon spying the perfect stick—though is not every stick perfect?—to seize it between the teeth, to trot about in triumphant exaltation, to preen and prance, to clench and cherish it as though gold, or life itself, were held within the jaws, precious beyond all things. If only I could delight in anything with such unfeigned enthusiasm—as that stick, its discovery, its seizure, its hold.

Ah, to find such rapture in the ordinary! To greet the world not with suspicion but with wonder, to see in the roughness of bark and the scent of earth a treasure beyond price. She asks no meaning of the stick, no purpose beyond the play; she does not weigh its straightness nor lament its splinters. She exults simply because it is there—because it can be grasped, borne, and shared with the wind.

And when I feign to take her most prized possession from her, she does not crouch defensively nor guard it with wounded pride. She startles not in fear, nor suspects deceit, but spies instead an opportunity for play—for spirited contest, for joyous fun. A game of keep-away, of chase, of tug-of-war, of tag. The stick becomes not a treasure to hoard, but a bond to share, a spark of communion between kindred souls who, for a moment, forget the hierarchy of species and simply are. How effortless her wisdom seems: to turn every threat into invitation, every grasp into dance. What the world calls possession, she calls participation; what we call loss, she calls laughter.

Laugh I must too, for in her play I am carried back to youth—when a stick could be anything the heart desired: a sword flashing against unseen foes, a spear cast toward the sky, a knight’s lance, a shepherd’s staff, a trumpet summoning invisible armies, a conductor’s baton commanding the symphony. How endless were the shapes of imagination then! She reminds me of what I once possessed without knowing its worth—the gift of invention, the sacred power of play.

And so I laugh, though a tear is not far behind, for the years slip away like autumn leaves on the wind, and I remember what it was to live so lightly. She, in her wisdom, has become my teacher—her joy a gentle rebuke to my solemnity, her play a sermon on the holiness of delight. If ever there is grace to be found, it is in such simple acts: a stick, a chase, a glint of sunlight on the grass, a heart unburdened by purpose. Perhaps salvation lies not in grand design, but in this—to love a stick as though it were the world, and to find, in that loving, the world made whole again.

Betwixt Dawn and Dusk: A Meditation on Life and Dream

Preface

The first lines of this poem came to me in the night—those strange hours when thought and dream pass like shadows through the mind. I awoke briefly, not fully, and the phrase lingered: between and betwixt dawn and dusk… and the inverse, between and betwixt dusk and dawn. I held onto it until morning, when I set it down in full light. The poem that followed is a meditation on those intervals—the thresholds of consciousness and the veils through which the soul moves in its waking and its dreaming.

What begins as a reflection on the daily arc—from sunrise to sunset—soon turns inward, toward the more uncertain passage between dusk and dawn, where memory, time, and identity unravel and reweave. The Heraclitean epigraph provides the key: “The waking have one common world, but the sleeping turn aside each into a world of his own.” Yet even that distinction, perhaps, is not so firm as it seems.

The accompanying painting—Whistler’s Nocturne in Black and Gold: The Falling Rocket—mirrors the poem’s atmosphere: its drift between form and dissolution, its reverent wondering, its silence punctuated by brief illumination. Together, word and image ask not what life is, but whether it is lived or dreamed—and what remains of us in either case.


Nocturne in Black and Gold: The Falling Rocket
James McNeill Whistler (c. 1872–1877)
Oil on canvas, 60.3 × 46.6 cm (23.7 × 18.3 in)
Detroit Institute of Arts, Detroit
James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket
c. 1872–1877 | Oil on canvas, 60.3 × 46.6 cm
Detroit Institute of Arts, Detroit

Betwixt the Spheres

by Donald S. Yarab

“The waking have one common world,
but the sleeping turn aside each into a world of his own.”

—Heraclitus, Fragment 89

Betwixt the dawn’s gold-burnished, trembling rise,
And evening’s hush where embered echoes gleam,
A soul drifts outward under waking skies—
Or inward, through the latticework of dream.

Morning declares the world as firm and real,
Noon lays its claim in certainties and fire,
Yet twilight draws the veil we cannot feel,
And sings the hush of unfulfilled desire.

The hours fall like leaves from unseen trees,
Their passage soft, impermanent, and strange.
Some name it life, who walk it by degrees—
While others call it dream, and feel no change.

So tell me, when the final light has flown,
And silence hangs, unbroken and immense—
Was it a road we walked, and called our own,
Or but a fleeting spark in dream’s pretense?

But what of time when sun has slipped from sight,
And stars drift forth like seeds of the unknown?
What voice is heard within the hush of night,
When all the world lies still, and we—alone?

Between and betwixt the dusk and morning’s grace,
A different kind of being comes to bloom:
Where shadows speak, and time forgets its place,
And long-dead voices gather in the gloom.

In sleep, the veil grows thin, the borders bend,
And hours bleed into realms that none can chart.
The soul recalls what lies beyond the end,
And bears the hush of ages in its heart.

These hours are not lost—they are the deep,
The ocean floor where buried visions gleam.
From them we rise, like wanderers from sleep,
Still marked by fire, still echoing the dream.

So stands the soul, on thresholds vast and wide,
Between and betwixt the turning of the spheres—
What seemed a life, a dream walks at its side,
Measured not in hours, but in wonder—and in tears.

Not of Myth, Yet Hero Born

He lifts himself from bed without remark
to meet the worn, repeated tasks at hand.
No record marks the ground on which he strains—
no witness, no laurel, no acclaim.
His strength lies not in storied deed but labor plain:
a hearth kept warm, a family fed, life sustained.
No tale is told, no stone inscribed or raised—
the ordinary man, in toil, is born.

The meaning lies in being, not in praise;
in beauty glimpsed, not possessed though understood.
No crowns he needs nor feast days held for him;
his worth is in the craft, the nail, the wood.
He does not seek to master, nor to flee,
but walks the field, or mends a gate, or tends a tree.
In passing light, in gesture undesigned,
a truth is touched, not grasped, yet binds.

The purpose is in others—in shared bread,
the coat repaired, the cup placed in the hand;
in love soft-spoken, faithful in its giving,
not in the vow proclaimed, but in the deed.
His days are stitched with care that shows no seam,
his name unsung, his work by others’ need.
Though he may pass unnamed when he is gone,
he will have sown the path that others walk upon.

For St. Valentine’s Day: A denarius of the Roman Republic from 75 BC with an obverse featuring “Cupid with quiver and bow over shoulder”.

In Greek mythology, Cupid is known as Eros and is amongst the first gods. Hesiod records the following:

The First Gods

In the beginning there was only Chaos, the Abyss,

But then Gaia, the Earth came into being,

Her broad bosom the ever-firm foundation of all,

And Tartaros, dim in the underground depths

And Eros, loveliest of all the Immortals, who

Makes their bodies (and men’s bodies) go limp,

Mastering their minds and subduing their wills.

Hesiod, Theogony, 116-122

Of course, in contemporary culture, Eros, or Cupid, has become associated with Romantic love, and thus, the modern contrivance of Valentine’s Day.

Image of modern cupid with bow and arrow