Itās never been money or material success that has defined wealth for me.
For most of my life, I chased meaning in moments loud enough to echoāgrand gestures, perfect timing, outcomes wrapped in validation. But it was my most treacherous and grueling experiencesāthe ones that stripped me bare and rebuilt me from the soul upāthat taught me something higher.
They taught me to be still.
To be quiet.
To kneel at the altar of the subtle.
A blurry cloud, simultaneously barely and boldly defining its own form, illuminated at just the right angle.
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A battered feather, found in the dead center of a forgotten dirt road, caught in evening light.
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The soft hush of trees at dusk, whispering the memories of the ghosts that still roam underneath them.
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This is abundance.
Thereās something sacred about catching these quiet offeringsāthe ones that ask for nothing but your presence. No performance. No hustle. Just your full attention. And I think thatās what Iāve been learning to fully morph into, slowly but surely, all my life.
Iāve always been in love with nature, and over the past few years, Iāve begun to understand whyāconsciously, spiritually, viscerally:
Nature doesnāt demand applause, but it offers everything to those who notice.
Before caregiving and grief, nature called to meāquietly, consistentlyāand I always accepted her invitation to explore and to wonder. During caregiving, she became an escape. I retreated there as often as possible, weary and begging for rest that not even sleep could offerā¦and nature always obliged.
Now? I donāt go to escape or to retreat, I donāt just visit. Nature meets me. Whether Iām deep in the woods or walking my yardā¦hiking a trail or running my neighborhoodā¦now, I am always home.
We live in a world trained to skim, to scroll, to monetize every breath of stillness. But thisāthis sky, this feather, this light that passes and never repeatsāreminds me:
Presence is the prize.
Itās all around us, all the time, no matter where we areā¦but people donāt see it anymore. They no longer observe. Most have forgottenāthat observation is a form of reverence. And reverence, when practiced daily, becomes a kind of homecoming.
āAbundance is not found in money and material gaināat least, not for me. To me, it is found in natureās unexpected surprises.ā
I wrote that in my memory while standing beneath the canopy of trees shared above as it held the last light of evening. There was no one else there. No applause. Just me, and the divine choreography of stillness.
In that moment, nature herself invited me to remind you:
If youāre searching for proof that youāre loved, that you belong, that thereās meaning woven through even the hardest daysā
Look up.
Look closer.
Be still.
The abundance youāre looking for is already here.
Itās been waiting for your eyesāand your heartā to land on it.
The meaning of life is just to be alive. It is so plain and so obvious and so simple. And yet, everybody rushes around in a great panic as if it were necessary to achieve something beyond themselves. (Alan Watts)
I stood in the green hush, face to face with a bloom so intricate it felt like a secret whispered by the wild. The passionflower doesnāt need to perform. It simply is. Unapologetically strange. Beautifully complex. Alive.
entry ten ā scattered light, fractured grace: a quiet archive of light, loss, and what remains.
Black-eyed Susan (Rudbeckia hirta), a fading ember of late summerāgraceful even in decay, still holding the shape of sunlight after the bloom has passed. Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S., VSCO (A10PRO), Mextures (personalized texture formula: MEZPZZC), Lightroom Mobile (watermark only).
My mother always told me, in every possible circumstance a child might ever need encouragement, āDo your best, and leave the rest. Itāll all come right some day or night.ā
It was a line from āBlack Beauty, by Anna Sewell.ā
She was a third grade teacher, a grammar Nazi, and a mother trying her damndest to connect with me and, well, do her best.
And, as ornery and difficult a young person as I could often be, she never knew that I believed herā¦
ā¦even when I forgot I did.
Black-eyed Susan (Rudbeckia hirta), a fading ember of late summerāgraceful even in decay, still holding the shape of sunlight after the bloom has passed. Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S., VSCO (A10PRO), Mextures (personalized texture formula: MEZPZZC), Lightroom Mobile (watermark only).
There was so much distance between us as I struggled through high school with her overbearing āsin obsessedā guidance, and she struggled to save my soul.
Even when the days were so long, when they bled into each other, and when the nights felt like punishments I hadnāt earned, as her brain and body were swallowed by Alzheimerās.
Even when the thread broke, or maybe I cut it, when she diedā¦I honored and nursed a clean, holy wound in the shape of freedom for both of us, from past grievances, from debts yet unpaid, from fear, from tension, from aching hearts and confused minds and the evils of that horrific disease.
Still, that line stayed, like a soft breath. Like a healing balm. Like the part of her that couldnāt leave, because it lived in me.
Black-eyed Susan (Rudbeckia hirta), a fading ember of late summerāgraceful even in decay, still holding the shape of sunlight after the bloom has passed. Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S., VSCO (A10PRO), Mextures (personalized texture formula: MEZPZZC), Lightroom Mobile (watermark only).
Do your best. Not more than that. Not perfection. Just presence. I tried, truly.
Leave the rest⦠The story. The tragedy. The one who couldnāt stay.
It will all come rightā¦and maybe it already has.
entry nine ā scattered light, fractured grace: a quiet archive of light, loss, and what remains.
Weevil (Meibomeus musculus), a quiet laborer of the forest and the fieldsā¦carrying the weight of being, petal by petal. Vision: Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S. Tools: VSCO (KP3), Mextures (personalized texture formula: QBHASZK), Lightroom Mobile (watermark only).
There is a kind of presence that doesnāt announce itself.
No sound. No shimmer. No need to be noticed. Just a body doing what it does.
Clinging to a petal, breathing the moment, belonging to the quiet. Sometimes, that is the work.
Not saving, not proving. Just being.
And somehowā¦it shifts the entire forest, the entire field.
For some souls, there is a burden in being seen ānot the fear of visibility, but the ache of being misread when presence itself was the offering.
entry eight ā scattered light, fractured grace: a quiet archive of light, loss, and what remains.
Bicolor Bush Clover (Lespedeza bicolor), a humble member of the wild clover family. Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S., VSCO (HB3 PRO), Lightroom Mobile (watermark only).
Zooming in, pulling back, reframing⦠ā¦itās the practice of shifting perspectives. Cropping is discernment.
Itās important in photography, and in life.
Focusing closely. Examining the details. Leaning into the moment. Studying the layers. Trying different anglesā then pulling back to take in the whole.
I do this with my art, my edits, my healing⦠ā¦and my priorities.
Bicolor Bush Clover (Lespedeza bicolor), a humble member of the wild clover family. Lumix GX7 + Panasonic Leica DG Macro-Elmarit 45mm f/2.8 ASPH. MEGA O.I.S., VSCO (HB3 PRO), Lightroom Mobile (watermark only).
Cropping, and discernment. Both are framing what mattersā letting the noise blur into the background.
Itās not just a gift, not just a tool. Itās a process.
With practice, it teaches clarity through choice. Over time, it becomes discernment embodied.
Cropping alters perspective. It is learning to see againā¦
ā¦as many times as it takes to actualize the vision.