Posts Tagged ‘Jane Kohut-Bartels’

“Three Random Tanka”

April 28, 2023

Cranes wheeled in the sky

Their chiding cries fell to hard earth

Warm mid winter day

A pale half moon calls the birds

To stroke her face with soft wings

A cat sits dozing

Beneath a thorny rosebush

No foot can reach him

His paws retract the sharp claws

With a deep purr his eyes close.

Human frailties

wounds that bleed such heated blood

leave a dry vessel

Without the moisture of love

the clay reverts to the ground.

Jane Kohut-Bartels

Copyrighted, 2023

All reactions:

Haibun: Shadows

August 13, 2019




(Oil painting, Jane Kohut-Bartels, 2010)


I love the Japanese form of Haibun. It’s a form 1000 years old and originated as a travel document by poets and priests. It’s supposed to be just ‘notes’ about the surrounding environment, but at times was extended to something longer. I was challenged to write a Haibun incorporating shadows. I include a haiku at the end to ‘seal the deal’.

Haibun: Shadows

The newborn radishes are shadowed by cherry tomatoes. The almost-red globes drop down to visit. They compare hues. The garden is bathed in the light of a horizontal crescent moon, grinning like an idiot, suspended over trees that cast shadows on hillocks and deepening the valleys with their creeping darkness.
It is very early Spring. Dusk and day still balance in a pale sky, though the moon has risen.

Oh, the mystery of the night where shadows churn with imagination!

I sit on a concrete wall, watching distant clouds dance on the wind. The oaks are feathery with their foliage, the pecans still winter-nude. Day is closing. Doves are almost silent, sleepy sounding. Bats speed by, scimitars of the night. I close my eyes and drink in the approaching dark. Only those shadows attend me, and possibly a few lurking monsters.

Night’s benediction:
Bull frogs bellow in the pond
Shadows blanket day.


Jane Kohut-Bartels
Copyrighted, 2018

A painting….

November 6, 2018

A calming painting…..I’m trying to go back to watercolors.


Jane Kohut-Bartels

Copyrighted, 2018


“The Kimono” part of Chapter 2.

October 19, 2018

This must be a dream, thought Mari. I am kneeling on something cold, hard. I smell charcoal… Where am I? It’s so dark my eyes can’t pick anything out. My arms! Why are my arms tied behind my back?

She was kneeling on a cold wooden floor. Her eyes were barely able to pick out details of a room with little light. She was shivering, now naked except for the kimono over her shoulders. She heard a grunt and a low voice.

“So. What have we here? A young maiden lost on her journey through life?”

Mari lifted her head and saw a man, or what appeared to be a man, for the room was still dim except for a low burning brazier. He certainly had a voice like a man. He rose, moved around in front of her and stared down, a bemused look on his face.

He had long, black hair, tied in a topknot, and seemed tall for a Japanese man. His forehead was high and Mari realized his hair was plucked from the front of his head. He was dressed unlike anything she had seen in modern Japanese styles for he wore what looked to be numerous robes and had a dagger in the sash at his waist.

“Catbird got your tongue?” He leaned down and raised her chin up in a hard-skinned hand. Mari shivered from fear and cold.

“Where am I? Why are my arms tied? Who are you?” Mari was stuttering, forcing her questions out, shocked as much with fear as cold.

“Ah, I see I have summoned a young woman who has no manners. Perhaps I will teach you some. Perhaps you can learn to address your betters with respect.” The man took the draped kimono off her shoulders and folded it carefully, placing it on a wooden chest by a wall.

Mari started shivering harder, her naked body exposed to the cold room.

“As to your rude question, I am Lord Tetsu Hakuto, in the service of the Shōgun. I am of the clan Minamoto. That is all you, girl, need to know.”

“You s-s-still haven’t answered my question. Where am I? Is this a dream? Please, I beg of you, I am freezing. For the love of God, give me a blanket or s-s-something to warm myself.”

Lord Tetsu looked down at her, his face a mask. Suddenly he threw back his head and laughed loudly. “I see I have a challenge before me. Well, good, I am up for a challenge, even if it is in the insignificant package of a woman.”

Lord Tetsu lifted her by one secured arm and roughly dragged her to a low futon. He pushed her face down and threw a silk quilt over her. At first Mari lay still until, wiggling like a worm, her head cleared the quilt. She could not sit up but at least she could see.

The man was kneeling before a low table. He was writing something on a paper scroll with a brush he dipped in ink. Mari watched silently, knowing he was watching her from the corner of his eye.

“Please untie me, Lord Tetsu Hakuto. I am very uncomfortable and would like to sit up.”

“Why would your comfort be of my concern? You make silly demands of a superior.”

Mari struggled not to show tears. She was uncomfortable and afraid.

“Lord Tetsu Hakuto. I have to pee badly.”

Lord Tetsu grunted and put down his brush. “Well, that is natural. I also have to pass water first thing in the morning. Come, girl.”

Mari wasn’t sure she wanted help but she had little choice. He threw back the cover, pulled her to her feet, and walked her to a small alcove where a squat clay vessel was placed. He pushed her down and walked away. Mari was glad for the privacy. Of course, with her hands tied she had to carefully balance herself but at least her bladder didn’t hurt.

Mari padded to where he was, blushing because of her nakedness. She wasn’t sure this was a dream for she felt wide awake. She edged towards the low brazier for warmth.

“Lord Tetsu, it is unnecessary for you to keep my arms tied for I am not a threat to you. I am a modern woman who is not violent and I have no intentions of grabbing your sword and using it against you.”

Lord Tetsu looked up from his scroll and listened, his raised eyebrows expressing his surprise. “You could not grab my sword, as you put it, without losing your hands. I have no fear of you harming me. It is rather the other way around. However, since you are about to tip into the brazier, I will untie you.”

He drew his dagger and whipping her around, cut her ropes. Mari almost sobbed in relief. Her arms were numb. Then the pain hit her and she moaned as she tried to rub them, a pathetic, naked woman in great discomfort.

The sight of her must have moved Lord Tetsu for he drew her to him and rubbed her arms. Mari was grateful for she was shivering with cold. She felt exhausted and leaned her head against his chest with a sigh. Then she fainted.

When she recovered her senses, she was covered in the quilt on the futon. He was sitting next to her and smelled of sandalwood and male sweat, real enough.

“This isn’t a dream.” Her voice sounded soft and flat where she leaned against him, her face buried in the fabric of his robes.

“So, you have come back to me, little one?” His voice had a touch of humor. “No, this is no dream, but it is time for you to answer me.”

“Please, Lord Tetsu. Please first give me some water?”

“I will give you some broth for these things can take strength out of a woman. Wait.”

Rising, he drew the quilt over her body. He brought a bowl of hot broth simmering on the brazier. Her hands shook as she reached for the bowl.

“Better you are fed than scald yourself.”

Mari sat next to him, wrapped in the quilt, while Lord Tetsu fed her the broth with a china spoon. It was hot and spicy, tasting like seaweed, but it warmed her.

“Now,” said Lord Tetsu when she had eaten enough to stop shivering, “tell me where you found the kimono.”

“In a shop in Kyoto on Dezu Street. It was hanging near a window and the silver decoration caught my eye. I brought it home and when I slept in it last night, well…something happened, and either this is a dream or it isn’t.”

Lord Tetsu grunted and exclaimed, “Kyoto! It is a long journey from where it was last.” He was silent, thinking, then spoke. “What is your name girl, and are you maiden or wife?”

Mari almost laughed, surprised by his quaint wording. “I am very much a wife and my name is Mari. My husband is a systems operator for a worldwide communications company.”

“What? You speak in riddles! Plainly, girl, for you try my patience with your chatter.”

Mari ventured a question. “Lord Tetsu, what date is it today? Where am I in history?”

“What date? Today is today and as far as this history, you are in the castle of a daimyo who is under the protection of a most powerful Shōgun.”

“What is the name of this Shōgun, Lord Tetsu?”

He looked at her in surprise, his eyebrows arching. “None other than the great Lord Tokugawa.”

This still didn’t give her any idea where she was but the broth was good and she had stopped shivering.

“Lord Tetsu Hakuto, do you have a woman’s kimono for me to cover myself with? I am not used to walking around naked.”

“You will get used to it. girl.”

“Lord Tetsu Hakuto, I would remind you that my name is Mari, not ‘girl’. I am an educated, married woman and well respected in my field.” This last was not true for Mari had no field to speak of.

“Ho! You are prideful for a woman and forceful, too. Perhaps your husband does not beat you enough. That is a failing in many young husbands and you look to be young enough. Perhaps I can help him in this.” He raised his arm as if to cuff her.

Mari spoke fast. “Lord Tetsu, violence is the mark of a barbarian. Surely you are not such a man. You write and that shows you are civilized.”

A sly smile crossed the face of Lord Tetsu and he allowed it to broaden. He lowered his arm slowly. “You think quickly for a woman, Woman-called-Mari. Does your education extend to the brush?”

Mari looked at his table and rising from the futon with the quilt wrapped tightly around her, she went to it. She looked at the finely drawn calligraphy there and shook her head.

“Lord Tetsu, I write with a pen, not a brush, and I also write with a keyboard, something I am beginning to think you have no knowledge of. I do write some haiku but perhaps it would be better for me to recite one for you? You would not be able to read my script.”

“Why, are you so bad with the brush? Then your education is very low. Perhaps you dance or play an instrument?”

Mari smiled. “No, Lord Tetsu. I play violin but I suspect you are not familiar with this instrument. I do, however, write a lot of poetry. I write tanka, choka, sonnets and much free verse. I write haiku when I am able.”

“Ah! You are very boastful. Obviously, your husband is a weak man.”

Mari smiled. “Perhaps, Lord Tetsu, perhaps, or maybe he lives by different standards.”

Lord Tetsu stood at his table, his arms crossed over his chest, looking curiously at the woman before him wrapped in his quilt. “Then, if you dare, compose a poem and let’s see if your boasting has merit.”

Mari thought hard, trying to remember some she had recently written. There were a few, though they didn’t follow the classical forms.


Cold rain sweeps the streets.

Even ducks seek shelter.

Feathers drop in haste.


“Hah! Not very good, but a beginning. Give me another.”

Mari thought this next one would be more of the classical form but then she wasn’t really sure.


A glance at a wrist.

There! The pulse of a river–

tiny beat of life.


“Better! Perhaps your husband has taught you something.”

“My husband has taught me nothing, Lord Tetsu. He is not interested in poetry. I have learned this myself.”

“Not interested in poetry? You have married a barbarian then, for a man who does not write poems is indeed a savage. Give me some more, Woman-called-Mari.”

She thought of a few others she had written, though she could only partly remember their lines. She had little option except to admit failure but something in this rude man brought her mettle out. Pausing only a little between poems, she closed her eyes and recited what she could.


A woman in bed,

kimono revealing breast.

Snow on Mt. Fuji.


Snow falls on meadows.

Crows pick at last harvest seeds.

Spring now far away.


A swirl of blossoms

caught in the water’s current

begins the season.


Fall’s crispness compels

apples to tumble from trees.

Worms make the journey.


I chase one red leaf

across dry and brittle grass.

Juice of summer gone.


She kept her eyes closed thinking back to what she had just recited. Opening one eye, she saw him contemplating her with a quizzical look.

“For a mere woman, you have a fertile mind. If you had been born a man, you might have made a name for yourself.” Lord Tetsu gave a short nod of his head, a measure of respect. “Come, woman, learn how a man writes poems. You have shown yourself capable of learning at least something. Perhaps you are the rare woman who can rise above her nature.”

What a pompous ass, thought Mari. Obviously, this dream is about humiliation.

For the next hour, Lord Tetsu composed haiku and longer poems, mostly in honor of his Lord Shōgun. Mari listened to his low monotone and the sentiments that poured out like warm sake. She was lost in the tone of his recitation but was not blind to his beauty. His black hair fell down his back and the vigor of this man before her was evident. Even when he rose and went to make water, it seemed the most natural of things. She was not embarrassed nor discomforted. He was an inventive poet, even when she didn’t understand most of his references.

Jane Kohut-Bartels

Copyrighted, 2018, now available for purchase at











“The Kimono”, Chapter One

October 17, 2018


It hung in the window of a shop as Mari walked around old Kyoto. The shop looked out on a very small, shaded garden. With the sun overhead piercing the fan-shaped leaves of a gingko, the ground beneath looked like a yukata’s repeat pattern. Mari’s gaze was drawn to a slim beacon of light. It was enough to make her enter the small shop.

“Ohayo!” The shopkeeper came from behind his counter and bowed respectfully to Mari.

“Ohayo.” Mari bowed back.

Mari was Japanese-American, married to an ex-military man and this was their first trip to Japan. The only Japanese thing she knew was food. This culture was no more hers than being American. She felt she would forever be caught in the middle, a tug of war between two sides, and neither to claim her.

Behind the counter, Mari saw what had caught her attention: a kimono, a black, formal tomesode that a married woman would wear, not dyed with the usual flowers worn by young, unmarried women. Winding around the hem in mountains and valleys and up in a serpentine path high on the left front was a wide silver band. Looking closer, she saw the intricate handwork of what looked like stitched, silver cloth.

“That is surihaku, embossed silver sewn foil.”

The voice of the shopkeeper startled her. She blushed, not hearing him approach.

“How old is this kimono? May I look at it closer?”

The shopkeeper took it down from the pole and carefully draped it over his arm. Mari traced the river of silver from the hem to where it stopped. She noticed the kimono also had five white crests stamped on the front, shoulders and back. The shopkeeper opened the left panel of the kimono. Mari saw black knotted embroidery around the tan, the part that encircled the hips. The silver was only the outside decoration. The embroidery inside was heavy and patterned.

Mari could not restrain from touching the embroidery. She wanted to close her eyes and read it like Braille. She had never seen a kimono quite like this. It wasn’t new but it couldn’t be too old, perhaps no more than sixty years. It seemed in excellent condition. Even the white thread that was used when the kimono was washed was still fresh.

“Do you know anything about this tomesode? Where it came from, perhaps?”

The shopkeeper sighed. “No. I am a widower. My wife must have bought it. I found it after she died, in a chest.”

Mari decided to purchase the black kimono. The shopkeeper wrapped it in a box and she brought it home.

Four years ago, she had married Steven. They had never really settled down, for his company sent him for long stays in different countries. She went along because it was what was expected. It was never clear to her what he actually did, something to do with numbers and systems and computer codes. He was an expert in his field and the company was happy to uproot them both and send them afield.

Mari was not unhappy in the marriage, just restless. Steven had his work but she had nothing to do except knock about the streets and look at people, read and think. Mari’s mother thought her malaise was over the issue of children but Mari didn’t think this was such a big issue for her. Steven complained children would complicate their movements and Steven was all about keeping things simple. Mari put up little resistance to whatever her husband wanted. Perhaps her mother, who was a traditional Japanese wife, had influenced her attitude. Her mother always submitted to what her husband wanted. Mari did likewise.

It was two days before she tried on the kimono. After carefully untying the string and opening the box, she took it out and held it in front of her. The weight of the winter crêpe felt heavy. Mari laid the kimono on the bed, kneeled, and again traced the silver river, this time with her face pressed on the cloth, her eyes following the winding course of silver. It was as cool as water on her skin. Laying it open on the bed, she looked carefully at the black embroidery, wondering if there was a pattern in the high knots that coursed around the silk. She couldn’t tell because the pattern was like hieroglyphics, perhaps a secret language sewn into the silk, something indiscernible.

Mari stripped and pulled the kimono around her, binding it to her firmly. It was heavy on her body, clinging like a second skin. She sat on the floor feeling suddenly overwhelmed with a heaviness her legs could not support. She held out her arms, the dull silk rippling like water. It fell into the form of her breasts and she felt her nipples harden. It must be the cold of the crêpe, she thought.

Sitting on the floor, Mari hugged herself. She watched the river of silver course up her leg and disappear into the interior of the kimono. She wondered about the course of her own life. What would the years with Steven bring and could she endure this dullness inside? With a start, she realized that was exactly what she was feeling, a leaden dullness that leached out all color around her. Perhaps that was the attraction of the kimono now wrapped around her, the silver surihaku that led to her noticing it in the shop, the brightness of something to catch her eye and fire her imagination.

Mari didn’t know how long she’d been sitting on the floor. Her thoughts spiraled inward like the design of a nautilus shell. She looked at the clock next to the bed and was amazed an hour had passed. She stood and dropped the kimono on the floor. It puddled into a landscape of black hills, valleys and rivers.

Mari touched her left hip and discovered a series of indentations in her skin. In fact, all around her hips, stretching from one side to the other, there was a definite pattern pressed into her flesh. She thought of the weaves of a basket, the marks of a rope, the binding of her flesh to something stronger than her own mind.

When Steven came home, she showed him the kimono.

“Why a black one, Mari? You will look like an old crow in that.”

A less than flattering characterization but Stephen was sometimes rather critical of how she dressed. Mari did not go for floral designs and bright colors. She picked colors that were neutral, earth tones, colors that made her disappear.

“Married women in Japan always wear black kimonos, Steven. It’s the unmarried women who wear floral designs.”

“Well, get a red one and I’ll be interested in your choice of bathrobes.” Stephen was not taken by Japanese culture. His whole purpose in life was to do his job and move on.

That night when they went to bed, Mari was cold. The weather had changed and fall was becoming chilly. She got out of bed and padded to where she hung the kimono. Pulling it around her body, its heaviness and drape comforted her. She returned to bed and fell asleep.

Jane Kohut-Bartels

Copyrighted, 2018




September 9, 2018


(watercolor by Jane Kohut-Bartels, 2001 an English vessel that hauled coal in 1955)




That beautiful morning–

Teasing taste of early Autumn

The unthinkable happened

And our world stopped turning

I saw the plane, I saw the fire

I saw the smoke descend like

A blanket of blinding grief

Too late to spare those on the ground

The sight of Armageddon.



Mortar-grey people transformed

Into gritty moving statues,

Holding hands, blinded by smoke,

Move down streets where

Paper, bricks, metal, glass rained down

Like the Devil’s Ticket Parade,

Walked in silence towards the bridges,

Barely a moan heard,

An Exodus unexpected on this

Morning of such seasonal promise.


I saw worse.

I saw people jump

From the ledges, holding hands,

Some with briefcases

And all I could do

Was howl:


“I will catch you!

Jump into my arms

I will not drop you.

Do not be afraid,

Aim for my embracing arms,

With the last of my life—

I will catch you.”


That day of fire and ash,

Inexplicable funeral pyre,

Of brave souls rushing in

And frightened souls rushing out

And the ash, the ash, the ash,

Covered everything like a silent September snow.


Seventeen years later

Grieving when this day approaches,

I hear the words swell up in me:


“We will catch you!

Jump into our arms,

We will not drop you.

You will not be forgotten,

With the last of our breath–

We will catch you.”


Jane Kohut-Bartels

Copyrighted, 9-11-2011-2016, (This poem, “9-11” was published in “Pitcher of Moon”, and can be purchased at Published, 2014)

“Ten Thousand Leaves, Love Poems from the Man’yoshu”

July 9, 2018

Samurai Woman

I love Japanese poetry, especially the poetry of the Man’yoshu, a collection of remarkable and ‘democratic’ poetry, in other words, poetry that was included in this great document by priests, courtesans, samurai, peasant songs, fishermen, nobles and many other sections of Japanese society from the 7th and 8th centuries of Japan.  In fact, this great document is also an incredible collection of poetry by women:  this is the first time women’s voices were heard in such length. 

Lady Nyo

“Ten Thousand Leaves, Love Poems from the Man’yoshu”


“Thick and fast stream my thoughts of you

Like the layers

Of endlessly falling snow

Upon the cedars.

Come to me at night, my man.”

—– from the Man’yoshu

It was the first golden age of Japanese civilization. In the eighth century appeared the great metropolis of Nara, (the imperial capital) its broad avenues lined with magnificent temples. Culture rushed in from Korea, China and over the Silk Road, from as far away as Persia, and even from Venice.

We think of Japan in isolation, as it was to become centuries later, but in the 7th to the 10th centuries (approximately) the cultural influences were vast and wide and foreign.

In the 8th century, Japan found it’s first voice, a clear and powerful voice to become one of the most impressive, sophisticated and frank compilations of poetry the world has ever seen. (There are other earlier and then later collections of poetry, but the Man’yoshu is considered to be the best of the poetry collections. There are many reasons (cultural and court changes, etc) but this is a long study and can’t be done in this short presentation.

There are not 10,000 poems (leaves) but over 4,500. Most of these are love poems, (somon)where lovers speak with disarming frankness and clarity, speak to us across 1300 years as if they were us.  Actually, the poems express a decided lack of neurosis that we have come to view sex in the last few centuries. There is nothing of barriers when it comes to the human heart, longing, emotions and sexuality in these poems. Many of them are openly, expressly erotic.

The authors or contributors of these poems extended from Emperors, Empresses, courtesans, samurai, priests, beggars, fishermen, peasants: a cross section of remarkable variety. A truly democratic endeavor. This was never again to happen in Japan, not at least to this extent.

Otomo No Yakamochi (718-785) is considered to be the main complier of the Man’yoshu. These poems actually span a 130 year history, from around 630 AD to 759 AD.

There are three basic divisions of the poetry in the Man’yoshu.

Banka: elegy on the death of an Emperor or a loved one.

Somon: mutual exchanges of love or longing poetry.

Zoka: Poems of Nature, hunting, etc.

This short presentation will focus only on the Somon form.

Generally the Man’yoshu poetry is considered to be declarative rather than introspective, imagistic rather than abstract. There is an incredible freshness to it all.

There are basically two forms of poetry in the Man’yoshu: choka (long poem, 5-7-5-7-5-7, etc. ending in 7-7) and tanka. (5-7-5-7-7). The ‘long poem’, choka (which isn’t very long by our modern and Western standards) died out of fashion, and tanka became the predominant form of Japanese poetry for the next 1200 years.

Although one would think so, there isn’t a lot of Buddhist influence in the poems. If any religion, there is more Shinto influence especially in the Zoka form, but even that isn’t large. This may seem strange to us, with our notions of culture in Japan, but even centuries later, with the Priest-Poet Saigyo, there is little Buddhist thought within his poems. Religion just doesn’t play such a dominant role in most Japanese poetry, especially at this time.

“Going over the fields of murasaki grass

That shimmer crimson,

Going over the fields marked as imperial domain,

Will the guardian of the fields not see you

As you wave your sleeves at me?”

====Princess Nukata

This poem is considered by many to be one of the greatest poems in the Man’yoshu. It is presented near the beginning of the collection, giving it prominence. The answer by her former husband (she is now married to the Emperor) Prince Oama, (his brother) is a beautiful poem in its own right.

“If I despised you, who are as beautiful

As the murasaki grass,

Would I be longing for you like this,

Though you are another man’s wife?”

===Prince Oama

“Do not let men find out

By smiling at me so apparently,

Like the clouds that clearly cross

Over the verdant mountains.”

—–Lady Otomo Sakanoue

There are more poems by this poet than any other woman in the Man’yoshu. What is remarkable are the amount of women poets included in the Man’yoshu. This is only possible because the Confucian philosophy was not prominent yet in Japan. When it became influential, women lost much status: before they were allowed to own property, title, name, divorce, to keep custody of their children. After, they were relegated to indoors, stripped of much power and status.

“Whose words are these,

Spoken to the wife of another?

Whose words are these,

That bade me untie

The sash of my robe?”


Many of the poems in the Man’yoshu were folk songs, or parts of folk songs. And this repeated interest in ‘the wife of another’ was an object of male desire; the Man’yoshu is full of this theme.

“As I turn my gaze upward

And see the crescent moon,

I am reminded

Of the trailing eyebrows

Of the woman I saw but once.”

—-Otomo Yakamochi

This was written by Otomo at the age of 16!

“I have fallen into a yearning

With no requite,

For a girl who, when night comes

Sleeps pillowed in another’s arms.


“If men can touch

Even the untouchable sacred tree,

Why can I not touch you

Simply because you are another’s wife?”

—-Otomo Yasumaro

To finish with some anonymous poems:

“The flowers of the plum,

Were covered with fallen snow

Which I wrapped up

But when I tried to have you see

It was melting in my hands.”

“This body of mine

Has crossed the mountain barrier

And is here indeed!

But this heart of mine remains

Drawing closer to my wife.”

“The moon crossed the sky

And I saw him only once

In its pale light

Yet, the person whom I saw

Does appear to me in dreams.”

“I shall not take a brush

To this hair that lies

Disheveled in the morning,

For it retains the touch

Of my dear lord’s arms that pillowed me.”


I end with some poems of my own inspired by the verse below:

Thick and fast stream my thoughts of you
Like the layers
Of endlessly falling snow
Upon the cedars.
“Come to me at night, my man.”

….Man’yoshu, 8th century

Come to me

If even only in my dreams

Where my head rests upon my arm

And not yours–

Let this veiled moon

Above and these dark, broodingpines below

“Be witness to our love, my man.”

Come to me,

When the rocks have disappeared

Under sheets of snow,

The moon appears through tattered clouds.

I will be

Listening for the sound of

Your footfall in the dark.


Come to me, my man,

Part the blinds and come into my arms,

Snuggle against my warm breast

And let my belly

Warm your soul.

Above poems of mine were included in “Song of the Nightingale”, published by Amazon. 2015

Jane Kohut-Bartels

Copyrighted, 2011-2015



(“Nightingales”, Jane Kohut-Bartels, watercolor, 2015)

“A Winter Poem Outside My Window”

March 20, 2018


Don’t know who is hosting tonight, (it’s Bjorn!) but it’s Open Link Night where you can post ONE poem of your choosing.  It’s my favorite time of the month.


(Watercolor, Untitled, Jane Kohut-Bartels, 2008)


The soil has lost its excellence.
The worms have gone deep into
The sullen earth and hide
I imagine curled up,
Embracing worm castings
And each other,
Desiccated former selves
Pale little ghosts
Awaiting the fertility of spring
The watering of a constant rain.

I squandered the bloom months,
Thinking paper and pen
Would bring its own blossoming
Scarcely noticing the vitality outside
My window,
Allowing cabbage moths and beetles
To dominate what I believed to be
My nod to farming,
To self-sufficiency,
My tithe to the earth.

Ah, the soil is hardened
By the sins of the season.
Sharp winds make
Their own furrows
The cold buries down,
Deep down
Torments any life
That would show its feckless head.
Especially those hopeful worms
Now bundled in worm-sleep.

The words, verse,
I chose to cultivate
Over cabbage, collards
Failed to bloom.
Better I had plied the hoe
And bucket to that
Than a fevered pen
To paper.

It is now winter
And the fallow earth
Plays a waiting game
Knows I have failed
In paper and soil
And mocks me with a barrenness
I feel inside and out.

Jane Kohut-Bartels
Copyrighted, 2016

(This poem first published in “Pitcher of Moon”, 2014)



“Winter Into Spring”

March 16, 2018



(Watercolor, “Salisbury Downs”  Jane Kohut-Bartels, 2005)

(A detour from “Tin Hinan” because today feels like the poem)



Mysterious, unfathomable, muted season,
where life and reason are suspended
upon a cold metal wire.
The wind a razor of clipper glass
sailing through glassine air
slicing the pallid sun’s rays–
an attempt to warm a frigid earth
to a remembered fertility.

Solemn seasonal palette,
white, gray, black,
cut with a flash of blood-red–
Kamikaze cardinal!
like the demon wind bearing its name,
dares the thin and paling air
to brighten for a flashing moment–
A witness to recurring life.

Season of bountiful snow,
brings a thirst to the land
where hoar-frost leaches
moisture with a crystallized withering-
hands to crack, bark to shatter,
and all dries and curls about
in a perverse furnace of freeze.

One day, a pale day
a southern breeze
breaks through the bonds of Winter
brushes up, slides up
upon the ice
and a crack like a thump is felt in the gut
a slow drip-drip of water
signals the end of this harsh season,
as icicles emit a hesitant stream,
and then the ice dam down in the brook
cracks with a louder sound
and the rush to Spring
is heralded with these natural sounds.

A blind movement
felt deep in the soil-
a careful stirring,
barely a rumble in the gut of Earth
as birth beneath replaces death above
pushing through the Great Womb
to a pallid sun above.

The tyranny of Winter is broken.

Jane Kohut-Bartels
Copyrighted, 2018


Some paintings….landscape and wildlife.

March 8, 2018

Some readers didn’t realize the paintings displayed on this blog were done by the blog owner.  Me.  I have been a landscape/wildlife painter for over 30 years and have  taught classes.  I do know those who are self-taught usually are passionately bound up in the process of painting.  Why else would you stumble around an easel for frustrating years?  And yes, a class can give some direction.  For many beginning painters.  But many of us, we are off milling our own wheat. Sitting our butts down and watching someone paint is agony.   I think many teachers are insensitive to the fact that people learn in different ways.  Some can read and look at pictures and come away as confused as before.  Some need a naked model before they can paint body parts…But most just need a pad of good watercolor paper and some paint.  Doodling large shapes, just having ‘fun’ with what develops can be as inspiring as sitting in a hard chair.  I’ve been asked to do a video for beginning watercolor painters, and am thinking about it. Just at the thinking stage.  I don’t know. My hat’s off to anyone who plays around with paint and then falls into it.  And what is this garbage of painting is ‘relaxing?”  Aggggghhhhh~  It should be but I’ve missed that stage.  Each piece of heavy white watercolor paper brings its demons with them into the room to frustrate and irritate.  That is what is behind the old story of “fear of that blank page”.  LOL!

The paintings below are mine.

Lady Nyo


(this last painting was done from a photo of an Italian Landscape, from a cook book!  One of the problems with photography is the flattening out of dimensions and so you have to ‘think in the round’ a bit and add color.  This turned out pretty good but I had to really think.

Some of these aren’t displayed well, but so is much of life.

These are obviously of some wildlife.


owls, baby 2

(This last painting I will have to iron or figure out some way to straighten out the creases.  This comes from removing it from a board before it was dry, or some other strange event.  Cats prowl around my easel, so they could be suspects….)

And my personal favorite.  I gave this to a relative who obviously didn’t like it, hung it on a closet louvered door, where it fell  and lay in the dust under a bed for a few years.  I found  and brought it home and hung it (fixed) in my bedroom.  I used it for the cover of “Song of the Nightingale”.  One less cover I had to paint.  Now, that’s relaxing. LOL!


(And Thanks to Nick Nicholson in Australia for the photographing of these paintings.)

Jane Kohut-Bartels

Copyrighted, 2018



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