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Gossamer Days: Spiders, humans and their threads

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It is September and I’m walking through a clearing in a sandy forest looking for a particular spider. This is Folly Island, South Carolina. With a golf course at one end and a nature reserve at the other, Folly is a marshy sandbar slowly disappearing into the Atlantic Ocean. It is periodically rebuilt with dark sand pumped up from the depths of the sea and deposited along its shoreline. At 6 am this morning I left the nearby city of Charleston and drove south along a single track, across the wooden bridge that joins Folly to the mainland, and for the past two hours I have been walking through the small patches of remaining forest — palms, sand, dead trees, bushes of berries I don’t recognise, and darting lizards. I feel the panic of the spider hunter — not the fear of seeing spiders but the fear of missing them, of being too late in the season. Busy searching the bushes, and flapping away the mosquitoes, I am brought to a halt by what feels like a net pressed against my head. Looking up, my face is inches from a female Nephila clavipes, my hair entangled in the giant golden web she has spun across the path.

. . . And feeding on the prey she captures and even mating with her without her seeming to respond or notice.           

In the clear morning light this spider is dazzling. The palm trees of Folly are not just green, they are glowing, in a pact with the sunlight — and the golden yellow silk of the Nephila dances between them. She sits in the centre of the web, and is so large that she must spin extra guy-ropes of threads behind the web to support her weight. Her body is long, thin and almost rectangular, light grey with a patterned yellow stripe down the centre. Her legs are striped dark red and black, with tufts of hair. She is about the size of my hand. She does not scurry, but moves slowly and deliberately. Carefully feeling, she stretches her fine front legs out before her and places them down on my skin.

Hanging in the corner of her web is a male. Like most other species of spider, the females are larger than the males, but in the case of the Nephila the size discrepancy is remarkable. The males are about a tenth of the size of the female, so that one or more might live on her web at any one time, feeding on the prey she captures and even mating with her without her seeming to respond or notice. I am here on Folly Island to make a ring from her silk.

Nephila clavipes.

Folly Island was once more forest than it was beach. This changed when it became a key stronghold of the Union army during the American Civil War, from where they could attack the Confederate base of Charleston. In their letters home, the Union soldiers described the awful heat of summer on Folly and the sickness and biting insects that flourished in its marshes. More died of disease than combat, and many suffered from boredom and homesickness. One soldier from Connecticut wrote ‘the white sand, the monotonous moan of the surf at high and low tide, and the lifeless appearance of tree and shrub, all contribute to fill the mind of the soldier with despondence and gloom’. Soldiers passed the days of waiting on Folly by collecting shells on the beach, ‘Day after day, at low tide, the whole beach, as far as eye could reach up and down, would be covered with men toiling as diligently . . . as if they were gathering diamonds’.

Two soldiers, however, found a different way of passing the time. Dr Burt Green Wilder and Lieutenant Sigourney Wales were officers of the 55th Massachusetts regiment sent to Folly Island in 1863. Wilder was the regiment’s assistant surgeon with a passion for zoology and comparative anatomy. The days between battles were his opportunity to explore the plants and creatures of Folly Island, many of which were unknown to him.

It was on one of his meandering walks that he discovered a huge spider sitting in the centre of a golden web that stretched ten feet between the trees. Wilder collected the spider and put it in his hat to carry back to the camp, and he held the hat in his teeth so that both his hands were free — one to break down the webs stretching across his path, the other to ward off mosquitoes. He made his way waist deep across the swamps, an unpleasant trip: ‘What with the extreme heat and my previous fatigue, and the dread lest my captive should escape and revenge herself upon my face while I was avoiding the nets of her friends, and the relentless attacks of their smaller but more venomous associates, it was the most uncomfortable walk imaginable’.

He returned to his tent in the camp and took the spider in his hands: ‘The insect was very quiet, and did not attempt to escape; but presently, after crawling slowly along my sleeve, she let herself down to the floor, taking first the precaution, after the prudent fashion of most spiders, to attach to the point she left a silken line, which, as she descended, came from her body. Rather than seize the insect itself, I caught the thread and pulled. The spider was not moved, but the line readily drew out, and, being wound upon my hands, seemed so strong that I attached the end to a little quill, and, having placed the spider upon the side of the tent, lay down on my couch and turned the quill between my fingers’. He continued at this for an hour and a half, after which time he had collected over one hundred and fifty yards of ‘the most brilliant and beautiful golden silk I had ever seen’.

Meanwhile, during lookout duty, Sigourney Wales had also come across this spider and its golden coloured silk. He had been spending his free time carving metal trinkets and medals, but on discovery of the spider he had found another potential material. Using a spool with rubber rings attached, he wound the silk directly from the spider’s spinnerets to create a series of golden rings. These he was apparently able to sell as real gold jewellery to the other soldiers in his regiment.

Wilder and Wales discovered their mutual interest in the local spider, and became convinced of the commercial potential of its golden silk. Once the war had ended, Wilder wrote that he believed that the silking of the large Nephila spiders of the southern states could offer an occupation for the freed slaves, but that it required the invention of some kind of tool that could twist together the thin silken threads into a strand that was thick enough to be woven into cloth. Along with Wilder’s father-in-law, the men submitted a patent for a spider silk spinning machine.

The drawings that accompany the patent reveal a torturous machine. The spiders are held upside down on a rotating disk and their legs and bodies are strapped to prevent them from cutting their silk with their back legs. As the disk was turned, the silk from each spider was drawn upwards and twisted into a thicker strand. From these threads, Wilder was able to weave a small ribbon of golden silk. However, spiders are difficult to keep — not only do they need a continuous supply of live prey, they also have a tendency to eat each other. Added to these problems was the vast amount of time it took to collect even a small amount of silk. Eventually, the men gave up their attempts to develop a spider silk industry. Wilder became professor of zoology at Cornell University, where, by his own bequest, his brain is preserved in the university collection, while Wales became a travelling salesman.

The history of humans attempting to weave with spider silk is scattered with similar tales: optimistic belief in the commercial possibilities of spiders, followed by realisation of the difficultly of the task. Yet there’s something about the resemblance of spider silk to thin threads of precious metals that has repeatedly attracted western inventors. To weave with gold — to create fabrics that shimmered like precious metals — this was the dream of the spider silk weavers.

A wooden ring for collecting silk.

Standing in the scrubland of Folly Island, I have my wooden spool ready to reel in the silk and create a golden ring, but I’ve lost the spider. It was here a moment ago, when I went to set up my video camera, but it’s now disappeared. I'm feeling guilty because I had moved her from her web to where the light was better for filming. I was planning to return her, but now she’s somewhere on the sandy ground. How do you find a spider in a forest? It’s hot, and I’m wearing long sleeves and trousers to stop the flies biting. Looking through the trees to the beach beyond I can see people sunbathing. There is a slight touch on my wrist, a caress. I look down. The spider has been crawling over my body the entire time.

 

Gossamer Days: Spiders, Humans and Their Threads, by Eleanor Morgan, is published by Strange Attractor Press.

 

This article first published in The Journal of Wild Culture, November 8, 2016. 

 

 

Eleanor Morgan's
WILD CULTURE SCRIBBLER'S QUESTIONNAIRE

What is your first memory and what does it tell you about your life at that time and your life at this time?
Running up a street trick-or-treating wearing a pink swimsuit and tights. I think I was meant to be a devil imp. I’m not sure what this tells me, but I like the memory. It was a fine, scratchy swimsuit with a belt and I was fearless.

Can you name a handful of artists in your field, or other fields, who have influenced you — who come to mind immediately?
Dorothy Cross, Angela Carter, Helen Chadwick, Rebecca Horn.

Where did you grow up, and did that place and your experience of it help form your sense about place and the environment in general?
I grew up in a small village in the Midlands. There were cows next door, a fast road past the house, a series of gravel pits and an animal-testing laboratory. It was rural in the way that a lot of England is rural – green but full of industry. I think this entanglement of human and nonhuman activity has affected how I make my work and my interest in making across species. There was no clear divide between where nature happened and where culture happened.

If you were going away on a very long journey and you could only take four books — one art book, one fiction or poetry, one non-fiction, one theory or criticism  — what would they be?
Theory: Richard Sorabji, ‘Animal Minds and Human Morals’. Fiction: Shirley Jackson, ‘We have always lived in the castle’. Non-fiction: Michael J Roberts, ‘Spiders of Britain and Northern Europe’. Art: Alastair Duncan, ‘The Technique of Leaded Glass’.

What was your most keen interest between the ages of 10 and 12?
My main interest was probably model making (cars, helicopters, boats, chess pieces, animals made from cheese wax) and turning the tops of my bedroom furniture into landscapes for these models (deserts, seas, mountains).

At what point did you discover your ability with [your artistic practice]?
I think I’ve been lucky because making marks on paper or experimenting with materials are things I’ve never been afraid of  - at least in the initial moments of making. The bits that come later – judging, editing, presenting – those I find difficult.

Do you have an ‘engine’ that drives your artistic practice, and if so, can you comment on it?
I didn’t realise until my late teens that being an artist was something you could be — and what I liked about it then and now is that it gives a name to what I do. This can be making a representational drawing, but it can also be creating fish prints with a group of fishmongers or embracing a giant sea anemone or singing to a spider. If I have an engine that drives my work it’s this: what if? What would that feel like, sound like or look like? What impossible or imagined things might it conjure? And these questions mean that everything is relevant.

If you were to meet a person who seriously wants to do work in your field — someone who admires and resonates with the type of work you do, and they clearly have real talent — and they asked you for some general advice, what would that be?
There are some things that I find useful to tell myself. Firstly, being an artist doesn’t mean one thing and it can change throughout your life. Secondly, you can’t completely control or predict how a piece of work will come out. Following the surprising moments and allowing things to take their own path, or even to fail, are important. Instead of attempting to conquer the work or a material, invite it, meet it. Thirdly, make friends with other artists.

Do you have a current question or preoccupation that you could share with us?
I’m currently trying to make ink from local clay, so my question is how to get rid of all the tiny grains of soil and make the ink smooth. It takes a lot of filtering and grinding.

What does the term ‘wild culture’ mean to you?
It makes me think of the fringes and uncertainty. It also conjures up the image of a really noisy party full of squawks, barks, singing and rustling.

If you would like to ask yourself a final question, what would it be?
Should I dust away the cobwebs from the ceiling?

 

 

ELEANOR MORGAN is a London-based artist, lecturer and writer specialising in the making processes of humans and other animals. She holds a PhD from the Slade School of Fine Art and has exhibited nationally and internationally at galleries and museums.

Photos by the author, except image at the top of the page.

 

 


Touched wild . . . didn't know it at the time

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Photo by Wayne Levin.

NORTH HUTCHISON ISLAND, FLORIDA — Yesterday I decided to ride my bike to body-surf at Pepper Beach, about a half-mile up the A1A seaside highway. My memory was that the surf was always good there, lifeguards would keep us safe, and I could do some body-surfing, even at high tide when, by our Seashore Bungalow colony further down the beach, the surf was a bit sketchy. 

Sure enough, the waves at high tide were grand, tipped up by a brisk breeze. I checked in with the lifeguard, who waved me on to body-surf in front of him. With the air temperature at 85˚F, and water a comfortable 75, swimming was a pleasure. Two boys (actually dashing young men) who turned out to be gracious Haitians (diplomats? students? refugees? smugglers?) joined me in the surf, and we frolicked for a half-hour or so, gabbing away at each other in French. At one point, we all were bunched together as a big wave hit. I felt bodies brushing up against me as we all rode the wave toward shore.

Soon after, we heard an air horn sound from the life guard station. I looked around. Some kids were splashing in the surf down the beach from us, a few fairly far out. It seemed to me as if the lifeguards were calling them in, to come closer. I was tired out by that point, ready to take a break. My Haitian surf-comrades also seemed to be done, and we duly waded out of the surf.

If you're in the water and you touch something like that, then you know . . .       

At the water’s edge, a woman was attending to her child, a teenager with Down’s syndrome who was having a high old time sitting and playing at the edge of the surf. The woman looked up at me and said, in some kind of broken English, “Did you see it? Was it …?”

“Was it what”? I replied.

“Shark, was it shark? Did you see it?”

I scanned the water and reassured her that surely there was no shark. It was just the kids, too far out in the water. The lifeguard was calling them in because the surf was so wild, I suggested. She seemed reassured, though still a bit dubious.

I headed up the strand and noticed the flags at the lifeguard station had been changed from yellow (swim with caution) to red (no swimming!). Dripping wet, I approached the lifeguard, who was leaning on the railing above me. Before I could speak, he remarked dryly:  “Did you see it?”

“See what?” I replied.

“The shark.”

I won’t say my blood ran cold. Or hot. It continued to flow, at least, as I absorbed the shock. “Where?” I asked, shaky and subdued.

“Right out there. Right beyond where you guys were swimming. It was a spinner. As tall as you are. I saw it jump.”

The lifeguard also said he saw a second shark near me, just as I was leaving the water. “It was a little smaller, I think a yellow,” he said.

“There! There it is again!” He pointed north. “It’s headed that way.” 

Astonished, I leaped a few steps up the ladder of the lifeguard station, but couldn’t see anything.

“You have to have polarized sunglasses, and even then you can’t always see them. There! There he is. Pretty sure it’s a lemon.”

Photo credit.

I pumped the lifeguard for more information. A fellow named Dave, who turned out to live in a nearby beach apartment, joined the conversation. It seems none of these sharks is particularly dangerous, though they can bite you. They have teeth, after all, like bluefish and no doubt others. The sharks are looking for fish, not people. But when the water is murky, churned up by lively surf, they may mistake a person or some part of a person — a hand or foot — as a fish and . . . well . . . let’s not dwell on it. The lifeguard said surfers at the Fort Pierce Inlet, where the waves tend to be gnarly, just swim with the sharks, live-and-let-live style. It doesn’t seem there are reports of serious shark bites or related incidents. (However, an elderly woman on a three-wheel bicycle I encountered later at Cumberland Farms said she tracks the GPS coordinates of “Caroline,” a Great White shark she says cruises the east and west coasts of Florida.) 

Before I left the beach, I made sure to go back to the woman and her daughter at the water’s edge to tell her that she had been right. "It was a shark; two sharks, in fact. Creepy!"

I am trying hard to reassure myself. I’m only in Florida for a couple of weeks. The beach is right here, the water is warm, the waves are breaking. Really, there's no time to lose! And didn’t the lifeguard and the Internet assure me that these types of sharks are not interested in eating me? This morning I went for my early-morning dip. Not with great confidence that the water would be shark-free, but with a determination to take advantage of the surf and the likelihood that there would not be sharks near me. Just about the first thing I saw after getting in the water was a small fin cutting through the surf, not 10 feet away. I froze, or at least stiffened. Should I flee? Should I take a pass on surfing, wait for another day? Heck, no! After all, it was a small fin. I decided to ignore it and went on with my morning ritual — back exercises, riding a wave or two. Later, wife Chris scoffed at my account. I believe she thinks I am seeing things. 

There is a program on sharks coming up at the ocean study institute up toward Vero Beach. I don’t know if we’ll make it or not. We’re pretty lazy. Besides, you can find out plenty about sharks online (go to a "spinner shark" site to see a video of the critter leaping out of the water and spiraling like a football). I do know that today I have been thinking about something the lifeguard told me yesterday about sharks. “If you touch one, it feels like sandpaper,” he said. “Really tight, strong, with skin like sandpaper. If you're in the water and you touch something like that, then you know you've been bumped by a shark.”

I recalled that big wave I rode, along with the two young Haitian gentlemen. I remember bumping against two separate objects. Both felt like heads. One seemed to be at my side, toward my right leg. The other was below me, toward my left waist and thigh. I came up for air after riding the wave, and was surprised to see both men bobbing near me. All three of us had enjoyed a good ride, and I figured at the time we had simply bumped into each other along the way. Hilarious, right? We gave each other thumbs-up and grins, and headed out for another ride.

Suddenly it occured to me that at least one of those 'bumps' felt a lot like muscle-bound sandpaper.

SPINNER SHARKS, sleek, and streamlined, can grow up to ten feet (3 m) long. And while they are not man-eaters, they can and do bite, and they tend to get agitated if there's food around, so it's best to treat them with a great deal of respect. In the winter months in Florida, the spinners lurk in the water and don't appear to be feeding or breeding; they just wait in these comfortable waters for spring, when they will become more active and head north into richer, temperate seas bursting with food. 

LEMON SHARKS may dive up to 1,300 feet when searching for food, but usually they are found near shore areas at depths closer to 295 feet. Their unusual coloration sets them apart from most other sharks. "Lemon" refers to their light brown, yellow-tinged skin. It provides good camouflage for the sharks, which like to rest over the sandy bottoms of shallow water regions. From a distance, it is hard to tell where the sand ends and the shark begins. One clue might be the presence of small reef fishes, such as wrasses, which gather around this shark to pick off parasites from its gills and skin. This species is most commonly found in the Caribbean, but it also exists in the western and eastern Atlantic and eastern Pacific from southern Baja California to Ecuador. Feeding Behavior: Lemon sharks may chase down other sharks as prey, along with large sea birds, squid, crustaceans, stingrays and eagle rays. This is not an aggressive shark species toward humans; however, when threatened, this big yellow fish will not hesitate to inflict a potentially serious, and even deadly, bite.

[Shark facts courtesy of Discovery Channel.] 

 

FRED FISKE is an independent journalist and composer and spent his career in journalism, mostly writing editorials for The Post-Standard newspaper in Syracuse, New York. He majored in history and literature at Harvard and received his masters from the Columbia Graduate School of Journalism. He grew up in a foreign service family, living in Bangladesh, Germany, Congo and Iceland.

 

Unsung masters of Southern Light: Australian Impressionists in London

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Ariadne, Arthur Streeton, 1895. Oil on wood panel 12.7 x 35.4 cm.

LONDON— On a recent trip to London, on one of those interminable escalator rides — up and up and up — I caught sight of an extraordinary poster. It showed a painting of a sun-baked beach with sensuously leaning trees in the foreground, in beautiful light, very Mediterranean, and behind the trees and the beach, rolling waves on a sapphire sea (the image above). It was the kind of image that made me want to be there, and I was pulled out of the blurry chaos of London’s tube to read the fine print. “At the National Gallery — Australia’s Impressionists.”

A friend and I went the next day, and what we saw made us wonder why it took the National Gallery so long to mount this exhibition; most of these paintings had been done 100-125 years ago. Whatever reasons for the delay — colonials must wait their time, perhaps? — these paintings were a spectacular discovery, both as landscape paintings with no specific context and as documents of the harsh land in the late 19th to early 20th century on the smallest continent.  

“Australia’s Impressionists” focuses on the paintings of four artists, Tom Roberts (1856–1931), Arthur Streeton (1867–1943), Charles Conder (1868–1909) and John Russell (1858–1930). All were participants in a distinctively Australian art movement influenced by everything from Whistler’s subtle Nocturnes to painting outdoors as practiced by French Impressionists.

The purple noon's transparent might, Arthur Streeton, 1896. Oil on canvas 123 × 123 cm.

Allegro con brio, Bourke Street West, Tom Roberts 1885-86, reworked 1890. Oil on canvas on composition board 51.2 × 76.7 cm.

Impressionist art, born in and around Paris, was done largely out of doors, a plein air style made possible by the invention of easily portable paint in tubes. On the other side of the world, in the Heidelberg area of Australia, outside Melbourne, Arthur Streeton had acquired an abandoned homestead looking over the Yarra Valley to the blue Dandenongs, a grand spot to practise. Tom Roberts, born in England, emigrated to the Melbourne area as a teenager and returned to England to attend art school. Traveling through Europe, he was captivated by Impressionist styles he picked up in Spain. When he came back to Melbourne in 1885 he urged other painters he knew to limn the landscape to bring out the authentic character of the Australian terrain and climate.

After Roberts introduced Arthur Streeton to Charles Conder of Sydney, over time the three came to be known as principals of The Heidelberg School art movement. They took their swag, brushes and paints off to the developing cities, to drought-baked ridges and gullies, to rural parts where flies, dust and magpies mix with sheep and cattle, and concentrated on getting the paint mixture that captured the light of Australia, not Europe.

In the Morning, Alpes Maritimes from Antibes, John Russell, 1890-1, Oil on canvas 60.3 × 73.2 cm.

A Clearing in the Forest, John Russell, 1891. Oil on canvas 61 × 55.9 cm.

Meanwhile, Sydney engineer John Russell had left his career, and Australia, to become an artist, ultimately working in France. Of the Australian Impressionists, he is the odd man out in this exhibit; his role was more of the long-distance mentor, keeping the other three fresh on news from the avant garde front, featuring what his close friends Claude Monet and Vincent van Gogh were doing at the time. Well admired for his abilities as a colourist, his work brought significant inspiration to young Henri Matisse. But his paintings of Provence and Brittany and frothy seascapes, nurtured along by friend Monet, have not much to do with Australian myth making practised by the others.

Meanwhile, the three Heidelberg School members first showed their self-described ‘Impressionism’ in an 1889 Melbourne show entitled, “9 by 5 Impression Exhibition.” A friend’s tobacconist father donated scores of wooden cigar box lids, measuring 9 inches by 5 inches. These substituted as canvasses for the real-life images painted outdoors — and painted fast. (The show was influenced by a similar one done in 1884 in London by Whistler.) Reaction was mixed, popular with the public but panned by the art press. Streeton, Roberts and Conder fought back, writing to Melbourne’s newspaper The Argus that whatever moves us “is worthy of our best efforts”.

A Quiet Day on Darebin Creek, Tom Roberts, 1885. Oil on wood panel 26.4 × 34.8 cm

A Break Away!, Tom Roberts 1891, Oil on canvas 137.3 x 167.8 cm.

National Gallery curator Christopher Riopelle begins the exhibit with some of these small works. On first viewing they seem unsophisticated, raw landscapes in shade, and the rainy day scenes of city life could have been lifted from European streets. Well, artists have to start somewhere, and of course this is the reward of a well-curated show: that the early works inform the mature ones.

But as the show continues we can see, in the time span from 1884 to 1905, their use of colour became more effective in landscapes they knew well, rather than when they were imitating the work of other painters. Though they caught certain aspects of the birth of this nation (the six colonies federated in 1901, forming the Commonwealth of Australia), they neglected to capture Aborigine life at any given moment. As well, the way they pictured women was in their dainty gowned passivity, lightly stepping in pastel-hued dresses across dusty streets, or reading on a beach holiday, balancing an umbrella on a rainy dockside. Where are the jillaroos, one asks, the young women working on sheep or cattle stations? Not here. Absent of indigenous peoples and the rural woman, the mythic view that the Australian Impressionists painted was — as depicted in A Breakaway!, by Tom Roberts — of the macho stockmen, kicking up yellow dust on horseback, galloping after getaway sheep headed to water.

Departure of the Orient — Circular Quay, Charles Conder, 1888. Oil on canvas 45.1 × 50.1 cm.

On the River Yarra, near Heidelberg, Victoria, Charles Conder, about 1890. Oil on canvas 30.4 x 40.7 cm.

So what became of these four figures who gave Australia its own Impressionism? Having acquired syphilis, English born Charles Conder relocated to England in 1890, where his fortune rose when he married a wealthy widow, but his later work was never as celebrated, except by other artists, as what he painted in Australia. He died in a sanatorium for “the insane” in Surrey. Canberra named a suburb after him in 1991. John Russell, the wealthiest of the Australian Impressionist quartet, eventually moved back to Sydney from Europe after the death of his wife. His great capacity for friendship with Monet could not save his broken heart; he destroyed hundreds of his paintings before he died in 1930. And who knew that one of the most innovative artists of the twentieth century, Henri Matisse, credits John Russell with teaching him colour theory!

Tom Roberts, likely the most ardent defender of his and fellow Impressionist’s works in Australia, best answered the call of his colonial leaders, with an eye to nationhood, who urged him to make “pictures of the true rude life” of white settlement in Australia. His life was celebrated in a 1985 television series, One Summer Again. Arthur Streeton, who had achieved Mention honorable at the 1892 Paris Salon for Golden Summer, Eaglemont, saw it become the first painting by an Australian-born artist to be exhibited at the Royal Academy, London. Somewhat like Monet in Givenchy, he painted to the end of his life in his acreage in the Dandenongs.

Golden Summer, Eaglemont, Arthur Streeton, 1889, Oil on canvas 81.3 × 152.6.

Perhaps National Gallery goers in Britain were not ready for “pictures of the true rude life” of Australia’s colonial past until now. But given the British pride and love for Turner, who certainly went outside to work and led the way for all Impressionists, I have to think it’s just insular, Euro-centric thinking about what is significant in art, much in the way the Canadian landscape art movement, the Group of Seven, took a long time to be noticed internationally.

My friend and I, on a brief tour with our choir from Toronto to London, never having been to Australia, never expecting to see Australian Impressionism, never knowing it existed, took a little path to enlightenment. It broadened our view of the essential nature of global community and collaboration, in this case between artists, on behalf of those who love art. Looking at the absence of Aboriginal life depicted in the work of Australia’s Impressionists makes you wonder where artistic development could have taken them, by painting in that gap.

The exhibition Australian Impressionists, at the National Gallery, London, closes March 26, 2017.


MARILYN MERCER is a former instructor in journalism at Carleton University in Ottawa. She worked for many years at the Canadian Broadcasting Corporation as a producer and manager in radio and television. For radio she was a producer of Morningside and founding producer of Basic BlackShe produced a network television special on Alexandr Yakovlev, Soviet Ambassador to Canada, who returned to Russia as architect of glasnost and perestroika under Mikhail Gorbachev.

 

Polar Attraction: A Brief History of the Arctic White Bear in Captivity

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Polito’s Royal Menagerie at the Exeter ’Change in London, 1812. A collection of exotic animals owned by Stephen Polito, a touring showman in Georgian England of Italian descent who had come from his own country to find fortune in London and the provinces. The artist Edwin Landseer came here to study and paint polar bears “true to life.” [Courtesy of E. K. Duncan.]

FAIRBANKS, ALASKA— In the western hemisphere, polar bears have lived in our midst since the Middle Ages — a result of our fascination with these charismatic carnivores. Already in 1252, Henry III of England kept a muzzled and chained polar bear that was allowed to catch fish and frolic about in the Thames. The first unequivocally identifiable polar bears came to Europe by way of Greenlandic Norse traders, and from Iceland, where sea currents still sometimes maroon them. Viking entrepreneurs distributed them to royalty throughout Europe, who kept them in ostentatious menageries or passed them on as gifts to grease diplomatic gears and careers.

Print after Paul Meyerheim’s painting from 1885 of a Tierbude, a German traveling menagerie, a hybrid of circus and zoo. Such “shows” sometimes included taxidermy exhibits. The polar bear in the wagon on the right appears to be rather stressed by its confinement. [Wikimedia Commons]

Polar bear house at the Bristol Zoo, circa 1910. Founded in 1835, the Bristol Zoo and England Zoological Society set out to facilitate “the observation of habits, form and structure of the animal kingdom, as well as affording rational amusement and recreation to the visitors of the neighbourhood.” [Courtesy of Bristol Zoo.]

At the turn of the eighteenth century, new developments in science and philosophy, a burgeoning middle class, and expeditions to the Americas, Asia, and Africa brought about change. Animal collections in Europe — until then largely a privilege of nobility — increasingly welcomed the public. In medieval wildlife collections or"menageries" (such as the one in the Tower of London), polar bears drew a good deal of attention. Beginning in 1693, the first King of Prussia, Frederick I, kept a polar bear and other large mammals for public amusement in a baroque-style hunting enclosure inspired by Roman arenas. These animals were too valuable and difficult to obtain to be killed, but, defanged and de-clawed, they were pitted against each other in faux fights.

He bragged he was doing more to familiarize the masses with the denizens of the forest than all the books of natural history.       

In England, entertainers had been displaying all sorts of animals at carnivals and fairs since medieval times. The traveling menagerie, which derived from the processions of Europe’s ambulatory monarchs and their entourages, first took to the roads at the turn of the eighteenth century. In a bid for respectability, the owner of one bragged he was doing “more to familiarize the minds of the masses of our people with the denizens of the forest than all the books of natural history ever printed.”

The German showman and animal trader Carl Hagenbeck revolutionized wildlife displays with more natural-looking settings. In his unfenced “Northland Panorama” at the Stellingen-Hamburg Tierpark—shown here in 1910—species seemed to coexist harmoniously, but were separated by moats invisible to visitors. [Postcard; author’s collection].

In 1933, the purpose-designed polar bear enclosure of Munich’s Hellabrunn zoo comprised a semi-circular curved swimming pool and a wide platform with rising terraces. The back wall, which had openings leading to the polar bears’ night quarters, was covered with artificial rock to replicate the Arctic environment. [Courtesy of Tierpark Hellabrunn]

Nobody contributed more to the popularity of captive polar bears, or the look of the modern zoo, than Carl Hagenbeck. In 1848, Carl Hagenbeck Sr., a Hamburg fishmonger, exhibited six seals he’d received as bycatch from fishermen before selling them at a handsome profit. At age fifteen, his son, Carl Hagenbeck Jr., took over what would become Europe’s most famous animal-trade business. He soon supplied zoos, menageries, and wealthy individuals, including the Kaiser; by his early twenties he ranked among Europe’s top dealers in 'exotics'. With a nose for opportunity, Hagenbeck branched out into the budding entertainment industry, mounting “ethnological” and large carnivore shows, as well as a circus.

From their very beginning as cultural institutions, zoos have tried to balance entertainment and education. Today, with climate change and habitat loss from development, thereby threatening the polar bear’s natural habitat, many have added conservation to their mission, including captive breeding programs and scientific research.

Sadly, unhealthy and dreary polar bear enclosures such as this still exist. Chile’s only polar bear “Taco” died in 2015 at the age of 18 at the National Zoo in Santiago. For years, activists protested its captivity in the capital, sometimes with blockades and burning barricades. [Photo by Aldo Fontana]

Zoo design has come a long way, as is obvious from this truly immersive experience at the Detroit Zoo. Modern zoos seek to give visitors an understanding of the bear in its home environment, while also considering the animals’ well being. [Photo by Lon Horwedel.]

I firmly believe there are landscapes that speak to certain individuals more than others do, even to the extent where only one place ever makes a perfect match for such a person. A first exposure to this kind of “soulscape” feels like a homecoming. Fortunately, I have found not one, but two: the Grand Canyon and Arctic Alaska. Unfortunately, lying 2,500 miles apart, they have sentenced me to a lifetime of wandering. I still consider myself lucky, as a wilderness guide of twenty-five years, to have spent my best days in these two magnificent regions. Like the canyon’s, the Arctic’s bare look is deceptive. It too is truly a place where life begins. Beyond keeping polar bears alive through captive breeding in zoos, we must safeguard their wild northern homelands. ≈©

The author, second from the right, guiding a rafting trip on the Canning River in Alaska's Arctic National Wildlife Refuge. (Photo by Rich Wilkins.)

MICHAEL ENGELHARD is the author of the essay collection, American Wild: Explorations from the Grand Canyon to the Arctic Ocean, and Ice Bear: The Cultural History of an Arctic Icon. He lives in Fairbanks, Alaska and works as a wilderness guide in the Arctic.

 

'The Ewe Stone'

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Stone Ewe Pre-Face


this piece, this
part, this

per    haps

story, this
probably may

be more
poem playing

at

being

a fiction has an
embedded

chain’s
bit (not

steel between
a beast’s

teeth) yet

something to
clink, some

thing some
clues do

some poss

able

weather where
swift air

terrifies with
whinnies

and is

laden

with huge

rain

 

a clue too:

Dwo
(pronounced to
     rhyme with too)

over edge
split-bed clear

find secret weeds
they seem

dropped threads’
anywhere-freedom

picking

me it

queerly first

what go trees me?

every

thing

centre

roots

water looking

 

 

The Ewe Stone

 

nothing-&-stone mingle wind

— Holly North

 

The middle-aged man stared at the rock just in front of his face. The toe-tips of his mountain boots were snug on a thin lip of stone. As he balanced, and gazed at what he was balancing on, the stone’s rugosities stayed utterly still, as they had done for hundreds of millions of years.

Yet the man found himself making these solid ripples change shape; he saw a continent’s outline, and a goat’s head, and then the hungry grimace of some strange un-known beast . . . which then caused him to recall the little church towards the valley’s mouth, five miles away and two-thousand feet or so below. Beside the church yard’s single yew tree there was a roughly hewn Celtic cross, and below the cross a small face-shape with a hole in it, no doubt meant to be a mouth. He did not lose contact with the hard ancient substance he was climbing on, but so very briefly one of his carefully placed feet slid ever-so slightly along the stone lip. He rebuked himself for letting his mind go astray. He was not used to losing his concentration. He needed to stay focused. The climbing was not desperately hard, but the rock was becoming greasy.

It was twelve years ago that he was last here. He had thought the climb would be a pleasant remembering. But a niggling doubt had crept down the back of his neck. He was also a man not used to doubt.

He had uncommon stamina, and an appetite for, as he often called it: Simply ballsing it out.

The ragged ridge of the fell across the valley had grown a grey fur of cloud. He watched it swell to a wavering gauze of moist air that started to creep down the craggy slopes opposite. He was alone, and un-roped. Perhaps he should’ve waited a day or two more, waited for more settled weather.

Holly would’ve waited. She was a bold climber, and nothing much worried her, but she was also patient, and would always think carefully ahead. Where as he would rely on his few gifts: physical precision and agility on all kinds of ground be it clean rough stone or algae-stained slabs or friable walls or decrepit ice. And he had uncommon stamina, and an appetite for, as he often called it: Simply ballsing it out.

A few straightforward moves brought him to a small ledge. The toe of his right boot nestled under a few fronds of heather. The heather held a constellation of bright droplets that jiggled as he moved his foot. Again, he rebuked himself. The little jewels were a distraction, and not what he was used to paying his attention to. He turned to look down the valley. The white thread of the beck wriggled. And the grey gauze on the fellside opposite had fattened further into a tumbling mass of hairy mist – it quickly engulfed each outcrop it fell past. In all his years of being amongst mountains he had never seen hill-fog move with such sullen weight.

He felt stupid and annoyed with himself. It was just weather, and weather was the medium through which the mountaineer moved . . . that was all it was. He was imagining things.

He looked straight down at the little ragged-edged tarn at the base of the crag. It shimmered gently as slanting sunlight skidded its surface. The path beside the tarn, that led back down towards the beck – the neat inevitability of its threading its way around knolls and craglets was as comforting as a familiar story. He heard a faint cuck-ooo cuck-ooo rise up from somewhere far down the valley. Briefly he thought he caught on the slight breeze a whiff of fresh mown grass. They were cutting for silage in the bigger fields, just before the bridge over the beck where the lane crossed and went on up to the church.

He looked up the crag. He clearly remembered the tricky section just ahead, which led to the arête overlooking the dark cleft of the North Gully. The pitch followed a shallow groove full of vertical curving ripples like water on a wind-blown tarn. The ripples looked deceptively positive, but when you reached them they turned out to be smooth as adders.

That’s the way she put it. And he remembered her wry smile, and the direct sweet lance of her gaze as she said it. He hadn’t thought of that moment in years, but here it was. He smiled to himself. His anger and the strange niggling that had crept down his spine since setting foot and fingers on this crag, it subsided a little. She was always so good at calming him down.

He had climbed the ‘groove of adders’ a number of times, and once he’d even done it whilst pound-coin-sized snowflakes ticked on his hood and blurred the rock. Today the ripples were cool and greasy, nothing he was not used to. A dry crock-crock suddenly cracked gently in his ear, and through his eye-corner he caught the black flickering flag of a raven slide down the sky past him. The bird’s agility and brilliance inspired him. He set to.

The man leant away from one of the sharper ripples, the finger-skin of both hands pressed hard, pulling against the rock. He carefully plugged the front rim of his left boot into one of the hip-like curves of the thickest ripple. His right foot had nothing much to stand on. This was the move, at least of this pitch. In front of his nose now, a stringy black beetle crawled across one ripple and then up and down another. It scurried so swiftly that he thought he saw a tiny dark horse galloping over silver hills. For an instant the beetle’s back had glinted. He felt the left boot begin to fade. The grip – the contact – that usually felt like a tight wire running from his toe up his leg and into his stomach, where he would feel it and pull it neatly with his gut muscles . . . suddenly the tension dissolved. The grip’s crispness melted. The beetle had disappeared. He let out a growl and cursed himself. His foot was slipping. And he was frightened. He could feel his planet’s mass pulling at him. He had not felt fear like this ever before.

He was falling . . . and then he was somehow on the rock again and his limbs making blurred movements and his fingertips feeling out a quick repetition of tapping and scrapes his breathing thick liquidy bag-fulls of gasps eyes wide open but what he saw was just stone-coloured shapes wavering all that was happening and all he did was governed by touch.

He had reached the easy angled arête overlooking the North Gully. He stood trembling on big holds. He could hardly recall the last few moments, he simply could not account for how he was now still alive. His years of experience and consolidated skill must’ve suddenly kicked in, he must’ve switched to some kind of ‘automatic’. He was partly amazed at what his body had just done, yet he had never climbed so badly. He yelled, You fuckwit! Wit! echoed back at him, out from the deep gully to his immediate right.

He turned to look down the valley; he could see nothing of it, he was now surrounded by a moist grey swirling slightly-luminescent floss. The heather on the ridge opposite, across the gully, was bathed in a shiny grey fluid, and was as still as if it had been carefully carved out of metal into astounding intricacy. Yes, the heather and the grasses were absolutely still, he was sure of it; yet he could feel a strong breeze rushing up past his ears, he could hear the straps on his rucksack gently clattering. He felt a lone raindrop splat on his scalp. Then there was another. Then. Another. He could feel cold water wriggling amongst his hairs. Now one drop rolled what he imagined as a silvery pulsating trail down his nape under his fleece and into the warm middle of his back. And then he found himself seeing – or was it somehow feeling? – raindrops falling upwards blown off his skull in the updraft. He shook his head and scrunched his eyes. And he swore again and his voice again bounced back at him out of the gully. He needed to pull himself together. What the hell was wrong with him?

Think of Holly. He brought her face into focus her green eyes kind yet dangerously sharp the glint in each of those eyes clear as a star-point shot across space like a lighthouse pulse on an horizon a sign of safety and yet also of danger. He suddenly realised that’s what it was – that exquisite mixture of uncertainty, and yet trust. He smiled to himself again. He listened to her voice. She was banging on again about poetry . . . but he was listening now. She was talking about Coleridge, describing excitedly yet precisely as if she had been there with the poet, how he lay down and writhed on Scafell’s rocky ground as thunder raged round him and lightening . . . it never actually struck his body, but it electrocuted something deep down in the dark of him, made a crisp shadow of something never seen before suddenly loom on the inside of his dazzling skull. She talked about climbers today, and how easy it is when you know so many have done these things before you, or at least things similar if not quite as hard. But Coleridge, no one had ever done anything like he did. That descent of Broad Stand . . . he could hear her clearly and he listened to her properly for the first time as she described that descent hold by hold she detailed the feel of each shape made by the ancient rock as that foolish yet somehow wise poet touched the mountain’s stone.

And then he remembered where he was now standing: on slick rock in pouring rain on an arête some three hundred feet above the little tarn mouthing its silent grey gasp lost in the mist below. And he was nothing like focused, his brain was carrying on in all directions. A wave of anger rolled through him and then broke ferociously. He screamed into the gully. No words. Just thick tangled wire strands of sound fell out of his mouth and then jabbed back at him bounced off the gully’s walls.

He needed to get moving, and needed to move well. He had sixty or so feet ahead of him before the broad ledge, and after that just scrambling up the ridge. But, the last twelve-foot of climbing before the sanctuary of the ledge was harder than ‘the adders’ . . . and in this rain and in big boots . . . He wished he’d brought rockshoes, but then rockshoes would be useless now. His mind roamed around for ideas. He had no oversized woollen socks with him, that he could pull over the mountain boots, the fibres of which would help him grip the soaked slippery stone.

He tried to focus, and calm his anger . . . but again an ocean roller of rage crashed over him. He was stupid, for blundering into this trap, this rock-trap, no, this middle-aged, no, senile mind-trap. Again he threw his insult into the gully – Fuckwit! – and waited a fraction of a second before again half the word rebounded on him. Wit!

He now wanted nothing more than to get away as quickly as possibel. He tensed himself. Pulled the buzzing wires of his heart tight and connected the wires of his muscles to the beating centre of him. He looked straight up the crag, at the rock to come. But as he craned his neck upwards something seemed to flare in the corner of his right eye. His senses were acute, his feelings wriggled to points. He was about to move upwards. But. He stopped.

Over to his right, across the gully . . . earlier on he thought he’d seen a perched boulder on the ridge, a boulder he’d never noticed before, but thought nothing of it . . . he could see now that it wasn’t a boulder at all – it was a dark grey sheep, probably a ewe, but oddly he wasn’t sure. Of course it was a ewe, a tup wouldn’t be up here high on the fell. Whatever, it was standing stock still. On thick hoar-frosted legs. And it was staring at him. He found himself staring back at it. The black grooves in its eyeballs pulsated a thick unintelligible but somehow knowing message. He pulled his eyes away from its gaze, and carefully observed the beast. Yes, the horns were polled, so a yowe it was, but a large one. In fact she was as big as any tup, Herdwick or otherwise, he’d ever seen. Actually, she seemed bigger than any tup he’d seen. She was huge. And she was statue-still, yet her gaze propelled a fluid energy. Her rugged bluey grey wool held droplets of rain. She was certainly living: wisps of steam rose from her underneath to writhe delicately in the woollen canyons of her fleece. Then suddenly she shook, a rolling neck-to-rump-wave like a dog’s shake, flinging droplets off of her. And then she was utterly still again. Staring.

As a boy he’d worked at least four of his summers on his uncle’s remote farm, right up towards the head of Detterdale, over on the Western edge of The District. He knew exactly what Herdwicks looked like, and he knew something of their moods, and knew their postures, and most of their ways of going about the fells. Over the years, and in all seasons wandering the fells, he’d gained an affection for the beasts. Their sturdy woollen legs, and sure-footedness. Their wide, somehow kind and almost religiously resigned faces. And their simply sticking it out and going on with things, busily methodically cropping the wiry fell grasses with wind ruffling their fleeces or even snow gathering on their backs. Funny, he’d never thought these things so clearly before. Holly would’ve made a sarcastic but sweet comment about these thoughts. She would’ve approved.

But the beast now gazing at him, this creature had none of that Herdwick kindness. It was the same breed for sure, but this one, she was so big. And her stare . . . her stare seemed malevolent. He was being bloody stupid again. If this was the Rockies and that was a mountain goat, well perhaps he had something to be wary of. But no, this was just a sheep. And besides, there was a broad gully between him and it.

He started laughing, his cackle resonating in the gully, and he began to recall how a goat in Corsica had indeed bucked him and knocked him off the mountain path he was on. How he had laughed as the goat came at him its dangling ears flapping the surprise comedy of it all the thud of its skull against his thigh and how Holly and Jerry had laughed too and even as he was rolling down the scree he couldn’t help spewing out big gulps of clattering laughter laughter at the joyful daftness of having been flicked off a mountain by a brown nanny goat. He was a very young man then, and despite tumbling some two hundred feet down steep scree he hardly hurt himself at all. After scrabbling back up to the others he proudly showed them his only wound – red jewels dripping off the point of his elbow, glittering in the cool blue air.

This wasn’t funny though. Again he realised his mind had just taken leave of his body, and had started wandering all over the shop. And again he wanted to curse and yell, but this time remembered his voice rebounding back at him from the gully. He kept silent. All the noise he’d so far made had made no difference to the beast. The stony ewe absolutely still was still there. She stared at him. Yes, he was certain, she was actually staring at him. And she seemed to know it.

He needed to move, and he needed to move so very very well. He could feel the ewe’s eyes on him. He glared upwards at what was to come. And strangely that animal gaze from across the way – he held it somewhere in the back of his head and somehow he connected it to the wiry pulsating mass of his heart and the wires of precision tightened in him and he was there now suddenly there at the crux the horribly slippery rock and small wrong-way-pointing holds all in his power and he could see his fingers crisply in focus and feel the delicate pattern of friction under the weather’s grease and he watched himself it seemed six or so feet away from and behind himself and he climbed the soaking pitch better than he’d climbed any pitch ever before.

He stood on the big ledge. It was more of a deep bay, a balcony of expansive safety. The gully was no longer in view, the bay’s tall right wall obscured it. The surrounding walls offered some shelter from the weather, but every now and again a buffet of wind spiralled in and then spiralled out. And the rain was no longer falling straight down, instead the wind had set it aslant, or if not aslant it momentarily spattered as gusts swirled it. And the rain was becoming sticky with floppy grey crystals. His hands were raw with cold. When he’d started this climb it was spring, and yet it was now November. He stood still, statue-still he thought. He stood on the vast ledge astounded to be there.

Whatever the bloody ewe wanted with him, somehow he’d got the better of it, used his indignation at the absurdity of her. That was it, that was what he’d done. He wasn’t even sure if there had even been a ewe. No. There hadn’t, of course that was it, yes! – he’d made the whole damn thing up to get him out of his fix. He’d read of such motivating hallucinations in tales of mountaineering daring-do. He smirked. He felt silly. Sheepish indeed. He heard himself laugh his forced guffaw streaming out a fraying stringy trail as the wind picked it up and took it away.

He looked beyond the big ledge up the remaining ridge. The scrambling was blocky, spiky and festooned with holds. But the soppy crystals now being squeezed out of the woollen sky were blunting the spikes and filling the holds and smearing the rock. The wind speed was picking up. The scramble was not going to be a doddle. But it’d go. It would, of course, have to.

The old eyes in the young man’s face kept locked on the other man’s. Then turned away.

His legs felt as if the gathering sleet-sludge was already up to his thighs. He looked down, it was only a centimetre thick, if that. A thin layer was gathering on the tops of his boots. But his legs felt stuck, as if his own muscles were huge slugs clamped to his bones, frozen to his bones. He was knackered, more knackered than he’d ever been. More goosed than when he’d topped out on McKinley after days of vertical, brutal mixed ground, and in howling wind. How could that be?

Denali, it’s called Denali not bloody McKinley! He heard her voice mix momentarily into swift wet air. She had quite a deep voice but with a bright edge. A slight sing that dissolved in amongst the throaty yet mellow notes of her turns of phrase. And she sometimes had such odd but just-so ways of saying things. He should’ve said as much to her. Her voice fell back in amongst the background hiss of wind and dwindled and then was gone.

He felt bewildered – a cold hollow growing in his gut. He recalled the image of the ewe. Stone-still still staring. Then a slicing pang of fright as if an icicle had been pushed under his ribcage. The cold-razor ache fanned out up his chest and settled in his throat. He gulped cold. Leaning against the ledge’s largest rhyolite block there was a figure. Stupidly he had expected the ewe to appear from the small cave at the back of the bay . . . and in the instant he dismissed this ridiculous fear the large block that dominated the ledge seemed to grow a tall shape out of its flank. There was a man leaning against the stone. There actually was a man.

Keeping his eyes on the figure, he knelt. Then he bowed his head and fixed his gaze to the ground. He pressed a palm into the rock’s cold undulations, then lifted the hand and thwacked it down again to test his world’s solidness. His hand buzzed with the impact, but it felt real and that was good. He squeezed his eyes shut. He looked like a man in the starting blocks, or some big cat about to look up and then pounce. When he opened his eyes the bay would be empty. The side of the big block would be empty – the block would only be gathering the air’s wet snow.

He opened his eyes. Wide. Immediately his body pulled into its lungs a thick soaked rope of air. His gasp’s hiss outstripped that of the wind. The man had not gone. The figure was still there.

This other man, leaning against the block, suddenly stood upright. He was wearing a grey suit, a thin black tie against a white shirt. He had on brown brogues. Of course the suit was ruined, completely soaked. All down the left arm there was a dark green smear of algae. And the outside seam of the trousers’ left leg had split to the knee. The wet rag flapped each time a gust curled round the bay. But the figure didn’t seem much bothered by the state of his clothes. Claggy snow gathered on the man’s broad shoulders and flecked his wavy black hair. He was a young man, but with a direct steady gaze that seemed to pass across an ancient distance. The dark eyes were set deep below thick eyebrows. The nose was prominent and slightly hooked, giving the young pale face a hawkish precision. The lips were thin but distinct and strong. And the young man’s jaw was large and square.

Then this younger, yet somehow decades older man spoke:  In a huge, open-wide, leaping eye of a bear  A mountain gleams in the pupil.  His accent had been formed in Yorkshire. The voice was at once gritty and yet smooth like river moving.  I see the dark pool  In the snow  On that huge hill  But I cannot see If its water’s full  Of foetus or food.  There was a slight tremble as the syllables bled precisely from between the thin lips. But the tremble in the voice, although making the middle-aged man think of fear, was not at all a tremble of weakness, it was more the kind of wavering resonance made by a massive bronze bell.  That meaningless cry with its sea-voice  Churning equally its dead-&-alive.  And yet at the same time there was a distinct glimmer of gentleness in the voice, and a reassuring certainty, as if each word had been given like a pebble, pressed into the palm, unpolished by cloths, but already gleaming. Perhaps the words were polished only by the wind.  Your climbing  Your climbing  Slides my skeleton slowly through space.

Now the young man smiled. It was not too dissimilar to one of Holly’s more mysterious smiles, the one that would make him feel judged sharply and yet at the same time collude with him.

That’s a good thought! The young man said to him. Yes, she colludes with you. All those words of hers lace the air. Even now she tightens your ears to feel.  Here is her gesture  Here is her fern  Hear her unfurl.  The steady yet wavering yet stony yet watery voice let loose its sounds to be caught by the sleet-speckled air to be torn away and torn up and mixed in and lost amongst uncountable atoms of elements:

Meaningless living appearance:
Night’s self-pebble.

Universe sleep — sun’s foetus.

The wind with nothing.
The stone’s directions.

Sea to fallen conditions;
Her aeon develops.
 
Variant angels bow.

The old eyes in the young man’s face kept locked on the other man’s. Then turned away. And swiftly as a deer startled or hawk stooping the tall drenched grey-suited figure leapt away from the large block and was then on the bay’s tall dark-green-greasy right wall making crisp person-shapes and gestures of clinging and balancing and pushing and connecting these gestures into one single fluid alphabet of motion up the impossibly hard wall. Then the figure was gone.

This was too much. He simply was not going to accept this. He smacked his forehead repeatedly, whispering: Stupid! Stupid! Stupid! He could hardly tell if the whispers came from his throat or if they were wind curling in his ears.

Quickly he got stuck into the final scramble leading up the ridge. He made no decisions. His body simply carried its small heat glimmering within him over the slippery blocks as the grey rumbling syrupy wind wrapped its sleet-tendrils round his frame and tried to pull or push him off the mountain. But the wind could not.

The sleet had now fluffed to snow. The climb was behind him. He staggered through feathery roiling flakes. The light was odd — bright then shadowy sweeping swathes as gaps in higher-up clouds opened and closed. He knew the ground ahead: a little plateau of craglets and knolls. But the wavering snow-strands and sudden twisters of speckled air put contorted veils and masks in front of familiar shapes. The slanting light was fading; it was much later than he’d planned.

And then on the close horizon, on a knoll, pixelated by the laden air, there it was again. No! No, that could be any ewe. It wasn’t the same. It disappeared for an instant into the weather, than came back crisp as sudden sunlight edged it. He squinted back at it, its shape fading in and out of this granular world he had suddenly found himself in. But even at this distance, some hundred metres, and through the hiss-interference, he could see, or perhaps feel, the eyeballs’ deep black stripes pinned on him. It was the same ewe.

He pushed ahead in amongst the knolly ground. He was looking for the narrow tarn. Once he found that he could be certain of his position. The reed tussocks and rough grass were bristling with clinging flakes. Whenever he hit boggy ground each squelched step seeped back black wet through the settling snow. As he moved amongst the undulations he glimpsed twice more the shape of the ewe. She was following.

This was the place: he rounded the little pyramid crag dappled with deep pockets. He stood at the entrance to a small corridor of flat ground nestled amongst the plateau’s craggy hummocks. And lying spirit-level-flat and black the length of this geological lane was the narrow tarn. From where he stood the corridor ran south to north, and was well sheltered from the cold easterly. He stepped in. The place was hushed and felt almost indoors compared to the surrounding windswept land. The black water rippled gently as white falling flecks vanished through its membrane. Here and there the tarn was frilled with spiky reeds, all gathering falling crystals. And intermittently as the strange light pulsated its swathes of gleam and shade the tarn’s skin would buzz swarms of glisten and then suddenly snap back silent and blacken so the falling specks again were seen clearly passing from air into abyss. Carefully he moved along the tarn’s edge. Then stopped.

At the other end of the corridor, ahead of him, she was there again. He simply turned his back on her.

He stood absolutely still, statue-still he decided. And he ignored the absurdity. He listened to the sough of flakes and the glossy glugging at the tarn’s edge, and beyond that the wind rubbing along rocks and snowy grass. And then he could hear a sudden acceleration of hooves. He tried to think of other things, but he found the sound of a horse cantering into gallop. And then a bear’s steaming sawing roar and grimace loomed through his mind, his entrails hot with terror. And now a wolf’s howl. And wolves’ snouts jabbing at him, and rows of slick glinting teeth gripping his flesh. The rumbling hooves were gaining. He could no longer ignore it. He spun round and instantly the ewe’s head with a flick hard and precise as a goat’s thumped into the side of his left knee and dragged up his thigh and took his feet from under him he was wheeling round sideways an iciness suddenly clamping round him up to his waist. And then she was gone.

Fuuuck! fuuck! fuck! He dragged himself out of the tarn, and tried to stand, and tried to rub and squeeze away the water from his trousers. He didn’t think anything was broken, but his right knee — suddenly the ligaments were vibrating horribly and a deep dull ache bloomed through bone.

And then the middle-aged man began laughing. There he was alone in the snowy wind soaking wet by a black tarn a sheep had just flicked him into. He bent over with his right hand on his good knee, and he laughed huge gulps. And then just as quickly as his laughing had begun, it left him, as if the wind had instantly sucked out of him the rippling rhythm of his laughter and he was left spent.

He flopped down to sit in the snowy grass, then immediately stood up again and made the effort to take off his rucksack, and then sat back down on that. He sat for minutes with his jaw cupped by his right hand and his elbow propped on his good knee, and he stared at the black water wobbling gently just a few feet in front of him. He felt the wet cold round his legs and loins cling. Then the ache in his knee was like some kind of burning light, but when he looked down at it there was no light at all, just his outstretched leg with snow settling on it. He stared into the black water hardly noticing his juddering muscles protesting the cold. He stared. And a pressure within him and from without was immense and pinned him to the moment. If he closed his eyes now he would sleep. He blinked. Then rubbed his eyes with his wet knuckles.

He had a fair way to go to get down to the valley, and then back to his car parked by the church. Even in decent weather there was a good two hours in it, at least without running. But with his knee and being soaked in this wind, and what with the increasing snow and the decreasing light . . . and this feeling so utterly spent and not knowing why . . . he knew he was actually in trouble. Here in the little hills not many miles from his childhood home . . . how odd that after all it was these little hills that would take him.

Instantly he heard Holly rebuke him. He turned round to see behind him. Of course, no one was there. But yes, what the hell was he thinking? He could never have imagined that he of all people could’ve simply sat down and given up on his life. We need a plan Batman! And he saw her smile again. But even though he wanted so much to reach into the falling crystals and the limitless air and embrace her and tumble away across some incomprehensible ancient distance . . . he resisted. She smiled at him, warmly.

And so he was now back on task, and soon he’d be bang on target, he had to be, he had to get packing, and he had to get up, and had to just go. For a moment he cast around for a cunning plan, and then he remembered. Yes, Holly and he had once winter-climbed the North Gully.

They had set off in foul weather, and when they topped out it was full blizzard. They had huddled together next to the narrow tarn, which was thick-lidded with ice, snowflakes swishing over it. And he had started to wonder how the hell they were going to get back; the wind was so ferocious, and the sharp speeding crystals vicious. He’d suggested crawling back to the gully, but they had climbed ropeless, and down-climbing amongst growing spindrift didn’t look good. No problemo! she said, for she had spotted on the map, weeks before, a small remote building in the next valley along, not too far away from the narrow tarn. On the map, next to the building’s square black outline the cartographer had drawn a single tiny pale green pine. She’d then visited this little stone building and found it hunkered amongst five Scots pines. And its roof was good and it was full of hay. She had led the way to this shelter, both of them often forced to crawl through the snow under the wind’s rumbling lid. When they opened the little barn’s door, and then shut it tight again behind them, they stepped instantly from pitiless storm into a peaceful den filled with the sweet smell of dried grass.

He needed to forget the ewe. He had to put everything into pushing on towards the barn. He needed to find the faint path that led eastwards out of the knolls to open fellside. It was four hundred-ish metres further north from the north end of the tarn. Then after following the path for half a K or so, he’d have to leave it to find the top of the scree gully that would take him quickly down the north facing fellside into the barn’s lonely valley. There were a few little cairns along the path, and there was a distinct elbow as the path crossed a crease in the hillside. It was at the elbow that he should leave for the scree gully. In his mind the images of the ground ahead were distinct, as were the images of the map of the area that he’d studied often, but long ago . . . and he would’ve said that once he knew the ground fairly well, but still he couldn’t account for such detailed clarity of recollection.

By now the sun had set, and the greyness of the air began to tinge with thickening purple. The tarn was behind him, he limped northwards following his compass. His eyes strained at the grey-white ground with each step. He was waiting for the path; he had to be ready to pick out the thread of it amongst the thickening flakes scurrying through the grasses.

And then he was there — the small cone of a cairn suddenly resolved in front of him. He was blessing whatever luck had found him and put him by the cairn when the ewe that he’d tried so hard to forget was suddenly again standing. In front of him. Still. As when he’d first seen her on the ridge across the North Gully. Earlier in the day. A day. That already as he was. Finishing it seemed. From long. Long ago. She was just twenty feet away from him. Still. Staring.

He really did think he’d imagined her. Despite his buckling knee and the pain, and the memory of the bone of the ewe’s head connecting with the bones of his leg, he really did think he’d imagined her. Anger rose in him as if a collie had nipped the top of his calf. The ewe just stood still. Staring. Be off with you you fucker! He waggled his arms at her furiously, and wailed like a wolf. She stood. Then in a single ratchety motion he staggered and stooped and scooped up a stone from the cairn and as he stood straight again pushing up most of his weight with his good leg he swung his arm and let loose the stone towards his target. The precision of his shot shocked him. The stone made a sharp hollow clat as it impacted with her snout. Instantly blood bloomed from her nostril. She bowed her head and pawed at the pain with her hoof. Black drops spotted amongst grass tips poking through snow. And some black strands dangled down the wind. Then the ewe lifted her eyes to him once more before she bleated her stony baah and then turned from him and bounded away her woollen rump bouncing back up towards the knolls in the direction of the narrow tarn her grey shrinking shape quickly brushed away by the streaming wall of scratchy flakes.

He stood and stared after her. Stared into the grey swish of speckled veils backed by purpling shadows. He could see nothing more of her. And he suddenly felt sorrow and was ashamed. He thought of his uncle’s ewes. And guilt suddenly crawled into him. She was, of course, just a sheep.

The stippled wind’s sting pressed against his face. He followed along the stringy path, and found the elbow in it. And then soon after that in darkness his headtorch jiggling its beam through flecks he speedily skidded and rode down the snow-muffled clatter of the scree descending an ancient escalator away from the higher ground holding the black narrow level of the tarn so hung above him as much in his mind as it was on the actual frame of the Earth the secrecy of that snowflake-coated scree slipping him sliding him down down into the valley’s fold his knee jolting electrically.

Now he limped along the valley path towards the little barn and its five Scots pines. The snow was thickening quickly and squeaked beneath his steps. And the track he left in the grey-whiteness of this yielding substance was a repetition of one clean boot-print and one print scuffed and this soft substance into which he divulged his injured trail was not yet hours old and after this night and another day would be melted gone. And the beck beside the path followed him and his deep tiredness effortlessly with its careless noise. He thought he could hear a voice in the water or was it remembering something she’d read to him?  This is where all  The stars wear through  This is where all  The angels wear thread  Bare their gowns of sky.  He wanted so much to be at the shelter now, he longed for the pines and the barn to grow out of darkness.

Then he was there pushing against the wood of the door his fingers fumbling the latch the door creaked as it opened. Then. Creaked as it was shut. Again. Immediately the snug quietness of the little place enveloped him. The dark white-flecked wind so far away and faint hissed peacefully through the pines outside. He slumped on to hay bales and let himself flop backwards. His headtorch picked out the cobwebbed beams and the backs of the thick slates keeping the sky away from him. He quickly slipped into an exhausted stupor, his mind emptying like a pool suddenly undammed. It was as if a part of his brain had fallen away from him. The ewe and all of that day already were gone far from him. He sank to sleep.

But then after a while of sleep’s thick breathing the sweet scent of the hay pulled through his nose entered his memories and lit them. He sat up suddenly and thought of lush grass growing then cut and dried in sun. And then his shoulders trembled and a great shaking took hold of him and bursting sobs came out from his mouth as his eyes brimmed and his cheeks streamed and his nose dripped. A long shuddering wail flowed out from his throat. He knew he was weeping in a way he’d only ever witnessed once before. And that he’d forgotten long ago. He wept as once his mother had. As his small child-self sat on the trembling bed close to her stroking her huge warm hands. ≈©

 

 

About the Paintings

The paintings of Paul Evans featured in this article have been 'borrowed' (and re-imagined) from The Seven Wonders | De Mirabilibus Pecci (https://seven-wonders.org/about/) project: an ongoing collaboration between the artist Paul Evans, poets James Caruth, Matthew Clegg, Angelina D’Roza, Mark Goodwin, Rob Hindle, Chris Jones, Helen Mort, Fay Musselwhite, Alistair Noon and Peter Riley. The project has been curated by Brian Lewis, publisher of Longbarrow Press.

Paintings from this project have been selected for ‘The Ewe Stone' by the editors of The Journal of Wild Culture. The intention is not to ‘illustrate’ the article but to colour it, texture it, and present some visual 'ground’ that will connect with and project 'something' of the invented 'District' in the story. By presenting the paintings here sans titre, they assume something of the character of a mythological world that is a 'none place'.

The two completed stages of the Seven Wonders (https://seven-wonders.org/about/) took place during 2010 and 2015. Both phases have featured in exhibitions at Cupola Contemporary Art, Sheffield, UK.

The Ewe Stone will appear in Mark Goodwin’s forthcoming collection from Longbarrow Press.

 

 

The Wild Culture Scribbler's Questionnaire

by Mark Goodwin

1. What is your first memory and what does it tell you about your life at that time and your life at this time?

The red quarry tiles on the farmhouse kitchen floor of my childhood home. My very small hands feeling the warmth of the sun streaming in over those tiles . . . and outside beyond the open kitchen door, the sun glinting on the cobbles in the yard. Even then — ‘outdoors-and-indoors’ — how those are apart and yet together, I could feel that . . . and now as I pass through what I hope is the middle of my life . . . dwelling, shelter and the weather and exposure to the elements, hunger and physical bodily power, and moving through weather and across ground . . . these I fear and love equally.

2. Can you name a handful of artists in your field, or other fields, who have influenced you — who come to mind immediately?

Ted Hughes, Werner Herzog, Vasko Popa, Kraftwerk, Sylvia Plath, Peter Redgrove, Andrei Tarkovsky, Gary Snyder, Penelope Shuttle, Pink Floyd, Geraldine Monk, Peter Riley, David Lynch, Fedirico García Lorca, Akira Kurosawa, The Beatles, Alice Oswald, Peter Dent, Norman Jope . . .

3. Where did you grow up, and did that place and your experience of it help form your sense about place and the environment in general?

I grew up on an arable farm in South Leicestershire. That place that held my childhood tight also threw me away to other places as a grown up. That place, that valley, its fields, ditches, trees, creatures, ponds and its stream . . . its various places . . . those grew my fascination for place . . .

4. If you were going away on a very long journey and you could only take four books — one poetry, one fiction, one non-fiction, one literary criticism  — what would they be?

They might be: Peter Redgrove’s Collected Poems – many of these poems I’ve already read many times; John Cowper Powys’ A Glastonbury Romance –I’ve only read this once, well over a decade ago; Nan Shepherd’s The Living Mountain – I don’t know the Cairngorm mountains as well as I know the West Highlands, I intend this book to be the bedrock for my meeting more fully with the Cairngorms; Ted Hughes’ Winter Pollen – If I took this then I’d also have to have a copy of Coleridge’s Christabel & Plath’s Ariel to go with it). It all depends very much on where I was going, and how I was travelling . . . for example: I wouldn’t attempt to carry Redgrove’s Collected and Powys’ A Glastonbury Romance (a brick of a book) on my back over Munros in The Scottish Highlands.

5. What was your most keen interest between the ages of 10 and 12?

Building, with my school friends, extensive dens from straw-bales, out in the stubble fields or in my father’s straw-barn, after school and at weekends. These were complicated systems of tunnels and igloo-like domes, with all the cracks stuffed with loose straw to make pitch blackness. Tig in these tunnels, with torches, and sometimes without. And the rope-swing in the straw-barn: A fifteen-or-so-foot length of blue polyprop wagon rope, with, at intervals, knots to grip, and at the bottom a fat straw-wadded knot to sit on. This rope (doubled into two strands) was larks-footed to a steel hook and chunky chain my dad had strapped round one of the barn’s steel roof girders, right up near the apex. This ‘ride’ required a four-foot vertical drop off a beam on the barn wall before the begin of the swing, the arc of which would take you right up to very nearly being able to touch the cob-webbed corrugated roof . . . and then at the end of the return swing, so as not to smash back into the wall, you had to tug hard on the knots so as to lift your feet above your head, getting your body upside-down but away from the impact. Just before I launched into this swing for the first time was also the very first time I felt my tongue stick to the dry roof of my mouth. The inverted question-mark of the steel hook and the blue rope’s curve towards me, back from that attachment. The leap. The strands of gravity rushing through my guts. The grind of the chain on the girder still rings in my brain.

6. At what point did you discover your ability with poetry?

When I was about sixteen. I started writing about climbing and mountains. Friends, and later a sixth-form teacher encouraged me. But now that I look further back, I can see that as a child I always loved the feel and shape of sounds in my mouth, and how those sounds made shapes in my mind ...

7. Do you have an ‘engine’ that drives your artistic practice, and if so, can you comment on it?

The engine is my physical body . . . how it carries my mind around, and how my throat can make sounds, and my ears can feel that . . . it is lungs, breathing, and it is pumped blood’s rhythms . . . it is touch, and all the senses, and the sense of balance . . . of swaying but staying on an edge between a thought and a place . . .

8. If you were to meet a person who seriously wants to do work in your field — someone who admires and resonates with the type of work you do, and they clearly have real talent — and they asked you for some general advice, what would that be?

Don’t read books on how to climb trees. Let the tree and its shapes, and the shapes it makes you make be the first lessons. Once you’ve slipped and fallen off a few times, and once you can feel the possibility of being fluid as you climb, then you must start reading books about how others have done it and do it, intend to do it, hope to do it, and even pretend to do it . . . and you must agree, and you must disagree, and you must especially be confused and not sure . . . and you should try very hard to become fully aware of and accepting of fear . . . your own fear especially, but other people’s fear too . . . But above all, fall in love with climbing the tree, and indeed climbing various trees, on still days, windy days, in sunshine and even at night . . . and let nothing else relating to your practice be worth more than that falling . . . ah, yes, also, and possibley as important as the love: take nothing literally, for the literal is the origin of – and also the ultimate – superstition ...

9. Do you have a current question or preoccupation that you could share with us?

The preoccupation is FEAR! In this Time of The Clown, my question is already shared; it is the question many people are now asking: will the returning threat of facism, and the threat of spreading war subside? Hopefully, this bizarre, nasty moment we are all now making is just some kind of mist . . . is some kind of thickening bad dream that will eventually blow away... but it is probably cowardice to think that . . . certainly cowardice to leave it at that. Much more hopefully: could this Clown Time lead towards humans finally breaking away from their ancient cycles of violence? . . . Is it possible for humans to evolve psychologically in such a way? What a hope! . . . There are two kinds of fear: useful, energizing fear . . . the kind I engage with when I climb . . . and this is an easy fear, that empowers if you embrace it carefully . . . it is a negotiation. There is also a miserable kind of fear, the kind that gives us nothing and just takes from us. That kind of fear can only be run away from, or come up against. We cannot negotiate with that miserable fear. To do something about that miserable fear means dragging one’s self towards what one really wants to, or in fact needs to get away from as quickly as possibel. Am I a coward or not? . . . I’m afraid just at this moment it looks like I could be tested on that before too long . . .

10. What does the term ‘wild culture’ mean to you?

It seems impossible. The word ‘wild’ is a product of human culture and comes nowhere near to engaging with the beyond-human forces and beings it attempts to categorize. Culture is something humans make and, in the part of the world I live in, tend to believe other animals (so-called wild or otherwise) cannot make. I’m a human animal, and so of course I am of culture . . . and of course I know culture is vital. But, ‘wild culture’, yes, that’s impossible! And, it is possible that some person imagined as ‘Me’ believes in all the gods, ancient especially . . . and if I do, then ‘I’ praise them over and over again for the impossible, and especially for what ‘We’ weakly call the Wild.

11. If you would like to ask yourself a final question, what would it be?

I don’t want to! Not just yet. I’m frightened to ask a final question. I just want to keep on with questions. Death will meet with me at some point, so I guess a or the or my final question I ask (before the bacteria of my body lose their dwelling place) will be fairly close to that event. Might be tomorrow . . . but I do hope not . . . but, well, could be . . . and there it is . . . I accept that . . . ah, that’s how it happens . . . that’s how this life thing ends . . . uhm . . . I’m now in danger, in danger of heading towards some kind of answer . . . don’t like answers . . . well, not final ones ...

 


MARK GOODWIN is a writer, climber, balancer and stroller who lives on a boat in Leicestershire, England. He has published five poetry collections and four chapbooks, and his poems have appeared in rock-climbing guidebooks published by the British Mountaineering Council, The Climbers’ Club, and Ground Up. Mark's next book with Longbarrow Press, Rock as Gloss, is a poetry collection which includes fiction — and images by Paul Evans. [Mark's site.]

PAUL EVANS is an artist and climber based in Sheffield, UK. He received the Eyestorm Gallery Award for painting (2007), selection for Leverhulme Trust Artist’s Residency, Cardiff University (2011), and winner of the Wake Smith Painting Commission for Sheffield Year of Making (2016). Further examples of Paul's paintings can be viewed here and here.

 

 

When Trout Walked on Land

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The lake near the woods; the bridge across Plum Creek. 

Clinging to the inside of the stall door in the women's restroom at St. Joseph's Church is a circular sticker of Pope Francis, arms raised in a blessing. Five words inch along the sticker's circumference: This Pope Gives Me Hope.

The bathroom smells like all church restrooms. Regardless of denomination, they all share the white deodorizer cake clipped to the inside of the bowl. The scent of stale urine is covered by what smells like mothballs, an odor I will forever associate with grandparents and artificiality. At the sink, there is no vase of silk flowers layered thickly with dust, just a wicker basket of sanitary pads, neatly arranged in three even rows. I return to my pew and listen to the people call out their intentions: a prayer for a nephew who is ill, one for the victims of starvation. Someone wearily mentions the new president. A woman prays for the end of abortion.

"Let us pray to the Lord," the congregation replies.

I keep my mouth still. And not just for this final prayer. I confess I still my mouth for every prayer at church.

I walk in the woods along a well-trodden path, a path shared by humans and their dogs and other animals as well. I see the deep angled tracks of a solitary deer. The paw prints of a raccoon. Hoppings of tiny bird feet, whisper-light on the surface of the earth. This land once belonged to the Wyandot. Sometimes I try to walk as I imagine they did: Sometimes I try to walk without sound.

Such arrogance . . . to impose my will upon the lily.

Spring slowly carpets the ground with yellow trout lilies. A pair of mottled leaves between which a single bashful flower — yellow — emerges, growing on a spindle neck, bent with the weight of its beauty. A crow sails overhead. Tiny minnows paddle up Plum Creek.

I often fished with my grandparents on their hundred-acre farm, first turning over the wooden boards leading to the outhouse and tugging fat night crawlers from the damp soil beneath. I remember threading a wiggling worm onto a hook, watching brown guts emerge. Tossing the line into the lake and waiting for the tip of the bamboo pole to bend. I remember the fish flopping and flapping on the grassy bank, gills heaving, eye pleading. The scales that littered the kitchen counter and stayed there for days. But the only fish I learned to identify was the catfish with its dangerous stinging whiskers. A fish was a fish, like an Indian was an Indian. Who cared about their differences?

They say the trout lily's foliage resembles the skin of its eponymous fish. I study the plant and see that it's true: the fish's skin is mirrored in the lily's leaves. I like to think the plant took an impression of the fish as the trout paused beside it, fins dancing among the weeds and the muck, skin against skin, pattern matching pattern, the species bonded forever back when trout walked on land and trout lilies walked on water.

"The roots of the yellow trout lily are thick and run deep, intertwined one with the other." Photo credit 

I used to play at being Native American. Sitting in the quiet of my family's living room with a bowl of water on the mossy carpet. Kneeling before the water, pretending to drink from a stream, calm and clear. In fact, I still play at being Native American, in the fall gathering walnuts and hickories and beechnuts, too, from these woods and the adjacent golf course. This foraging of mine is not a question of survival: at Costco, a bag of walnuts runs sixteen ninety-nine and they're already broken out of their shells.

The Wyandot were pushed from their land, removed first to Kansas then to Oklahoma. The whites justified it thus: the Indians need protection from us. They need time and space in which they might 'civilize' themselves: switching from a hunting society to an agricultural one. Adopting Christianity. Whites said these things to cover the truth, to sanitize reality: we wanted the land. We were greedy for land. Swallow up whole the land of the Native Americans, hundreds of unique and beautiful nations, lumped by us into one. Send them west. Let them find a new home.

I want to bring some yellow trout lilies home. I want to walk through the woods with my trowel and a plastic bag. To uproot some of the plant and settle it into the soil surrounding my pond. Such arrogance, to dig and split apart the roots. To separate mother plant from child. To impose my will upon the lily, rather than accept it where it is. All because I want it. All because I can. I tell myself I'll leave the plant in place, but I already know I'll be back tomorrow, covering up my behavior with some lame excuse: there are enough plants to go around. They will make for less mowing. I'll say whatever I need to say to take the yellow trout lily home.

The truth is, these woods are my church. The truth is, I want less civilization. I want my lawn — and my life — to be unruly and wild. I want to restore things to the way they used to be. How many times have I wished we could start the world over? How many times have I wondered if we might make better choices were we to do it again? How many times have I wondered if it's too late for the world?

"Hope that the world will go on without our intentions . . ." Photo credit 

Growing up I heard the stories of my fifth great-grandfather who came to this land as a Hessian soldier in 1775, forced, most likely, to participate in a war that wasn't his. According to family lore, he deserted in 1778 and made this nation his home. America was my ancestor's hope for a better life. Did he know improving his life would destroy the lives of others? That is not part of the story we tell.

As I get older, learning my family stories has become important to me. Perhaps it's because I have more time on my hands, now that my children are grown. Perhaps it's because I feel myself inching closer to my death. My English ancestors lived in the United States at least seven generations ago. I have a Austrian great-grandmother. Deep, deep Irish roots. But the ancestor to whom I feel closest is my Polish great-grandfather. In 1900, he left a country he'd never known, a country that had been removed from the map by three nations greedy for land: Russia and Prussia and Austria, too. My great-grandfather must have known what it felt like to be displaced. To mourn a land he did not know, the way the Wyandot must still mourn their land and part of their culture. Perhaps genealogy is my attempt to go back. Perhaps it's a way of explaining to myself why my people came and took the land from others. Perhaps it's a way to offer stories to the next generation.

"Mourning a land he did not know" . . . The author's grandmother, Polish great-grandfather and his Austrian wife.

The stories I didn't hear were those of the Wyandot and the Creek. the Seminole and the Chickasaw, stories just as important and worthy and true. Stories that have largely been lost. Stories that need to be loosed and set free. Stories that must be heard.

The ground is hard. The roots of the yellow trout lily are thick and run deep, intertwined one with the other. I hack at them with the blade of my trowel to separate the bunch in my hand. I notice four white lilies growing among the yellow. Do they notice their difference? Do they care? The truth is, I walk in these woods to escape the trivialities of my day and to make meaning of my life. The truth is, the yellow trout lily gives me hope. Hope that the world will go on without our intentions, or perhaps in spite of them.

Bag in hand, I continue my walk. I notice the mayapples have opened their umbrellas. And as the wind passes through the trees, I wonder if the spirits of the Wyandot walk soundlessly beside me. ũ

The last of the trout lilies nods in deference to the end of its cycle.

Erythronium americanum (trout lily, yellow trout lily, yellow dogtooth violet) is a species of perennial, colony forming, spring ephemeral flower native to North America and dwelling in woodland habitats. Within its range it is a very common and widespread species, especially in eastern North America. The common name 'trout lily' refers to the appearance of its gray-green leaves mottled with brown or gray, which allegedly resemble the coloring of brook trout. The range is from Labrador south to Georgia, west to Mississippi and north to Manitoba. 

KELLY GARRIOTT WAITE is currently researching the history of her 1908 house and the Native American woman who once owned it. Her work has appeared in The Christian Science Monitor, The Globe and Mail, The Philadelphia Inquirer and elsewhere.

Photographs by the author except where noted.

 

Beyond the Black Ditch

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Looking west along the Soay Sound from the dun.

RAMSGATE, KENT— I inherited my love of landscape from my parents. My father in particular engaged with landscape on a level beyond a passive admiration of the scenery. Dad was already middle-aged by the time I came along, and he had already hiked, climbed and sailed all over the country. He possessed a sedate, gentle character and was never one to talk about himself much, so I was surprised when I first saw photographs of him on top of a snow-capped peak, ice-axe in hand, wearing a thick woollen jumper and stout boots. He had been a slightly distant character when I was a child — though in fairness to him, when I was a child, I was a slightly distant character, too. Many of the memories I have of him from those days revolve around the places we visited on day-trips and longer holidays, and these were the times we connected most. I’m certain that my interest in exploring remote sites comes from him, though I’m less of an adventurer. Rather than conquering peaks, I collect places.

The places that fascinate me aren’t usually glamourous, important, or even what most people would call interesting. For a long time I wasn’t sure why I was drawn to certain sites. It was Rubha an Dùnain, a craggy little peninsular on the Isle of Skye, that first helped me to understand.

Viking inhabitants turned the stream that joins the loch to the sea into a canal . . . lining its sides with beautifully made stone walls. 

It is a place of extraordinary beauty, yet it is also an unkind landscape, broken by tiny lochans and low lying crags, and in bad weather its sense of desolation is all but overwhelming. Inevitably with a place like this there is a seductive visual quality and the element of romance that goes with it, but I’m drawn by something less tangible than that. I’m interested in places where things seem to converge: layers of history, topography and architecture. For me, Rubha an Dùnain also has a sense of convergence with my father’s life.

The first time I visited this remote spot, I had no idea of its history. Nor did I realise that, forty years earlier, my father had trodden the same boggy path. We each discovered this place independently of the other, standing in the same place but separated by four decades.

Rubha an Dùnain projects into the waves of the Atlantic from the end of Glen Brittle on Skye’s west coast. To its north are the waters of Loch Brittle and to the south the Soay Sound. Beyond the moorland that surrounds it on its landward side the Black Cuillins rise steeply, dominating this part of the island. The peninsular is overlooked by Sgùrr Alasdair — the highest peak on the Isle of Skye — and its close neighbour, Sgùrr Dearg, topped by the infamous Inaccessible Pinnacle. This is a landscape where you can feel the gravity of the place.

There is no road to the end of the headland, but a rough trail stretches along its northern side crossing boulders and bogs along the rocky coastline. The path is slow going. In bad weather it’s almost impassable; the rivers that bleed from the mountains and the slopes of the low, dark hills, Ceann na Beinne and An Sguman, cut through the soft earth and strip bald the rock. The largest of these rivers is Allt Coire Lagan. Its waters run down from a lochan (a small loch) high on the slopes of the Cuillins and pour through its rocky banks in glassy curls and noisy foam before crashing down the short cliffs of Loch Brittle. It was on the banks of this sometimes ferocious little river that my father once stayed during a climbing trip to the Cuillins. Years later, a long time after my own first visit, I found a photograph of his camp; an old fashioned canvas tent pitched beside the stream. By the time I found the tiny black and white picture my father had taken, he had died.

Map of the region and a closer look at the red-circled area: the ruins of Rubha an Dùnain.

He loved the bones of places like Skye: the bare stone projecting through the skin of the world, showing its age; the slow layering of rock and sediment; the valleys ground out by ice and the mountain tops rounded off by the steady working of the elements. I, on the other hand, have always been fond of the traces left in a landscape by the people who inhabited it. To me it is a backdrop to a human drama.

The headland itself is cut off by an ancient stone wall that follows the natural physical barrier of Slochd Dubh (The Black Ditch). It is architecture conspiring with the terrain, sometimes merging with the rocky escarpment above the Ditch or vanishing into the marshy ground of the hollows between outcrops. This scar in the landscape and its ancient stone wall are easily negotiated but there is a sense of a threshold here: passing beyond it, the headland opens up around the shores of Camas a' Mhùrain (The Bay of the Marram Grass). The low, rocky outcrops give no shelter from the sea breeze, and the grass that gives the little bay its name is usually bent flat by the wind. The peninsula is uninhabited now, wild and isolated, overflown by hooded crows and haunted by the quiet twittering of meadow pipets, though this was not always so. Around the bay remnants of buildings begin to emerge like ghosts from the heather and bracken.

Chambered cairn on the banks of Loch na h-Airde.

Walking west, with your back to civilisation, the first signs of human habitation encountered are the ruins of a crofting community. The shells of blackhouses — so called because of their lack of windows and smoky interiors — are clustered along the shallow valley and shoreline. The outlines of long disused tracks can just been traced under the heather. The township was once the home of the MacAskills, followers of Clan MacLeod. For hundreds of years, they were Skye’s ‘coast watchers’, guarding the island and the valuable seaways of the west coast.

The settlement was gradually depopulated by war, famine, economic migration and the highland clearances. The men and women who had lived there started new lives in Nova Scotia, New Zealand and the Carolinas. The last farm was abandoned in 1854. The remains of their houses are reduced to stone shells or turf mounds and around them the outlines of their fields and kale yards are still visible in the sodden ground.

I’ve been back several times since my first visit. Each time, I have accumulated a little more knowledge of the peninsula’s past and, each time, that knowledge reminds me that none of the history of this landscape or its people is mine. I am a visitor; an outsider observing the traces they have left behind.

The Viking canal and Loch na h-Airde.

The bleak grandeur of the surrounding landscape contrasts with the intimacy of the ruins. A hundred and fifty years after their abandonment, there are only a few traces of humanity remaining in the empty shells; a cold hearthside or a doorstep worn smooth with use. Everything else has been taken or lost to the elements. That said, when I’m walking on the lost paths between the ruined blackhouses, watched by the tumbled outlines of empty windows, it is difficult not to sense the community that once clung on there; the people who lived and worked there, and who knew every wall and field.

Most of the crofts are clustered around a small tidal lochan, Loch na h-Airde. Its shoreline is strewn with flotsam accrued over years of stormy weather — alien, bright coloured plastics and other modern detritus: bottles, broken fishing floats and crates swept from boats and beaches — dislocated artefacts trapped in the shallow waters of the loch, reminders of the world that exists back on the other side of the Black Ditch.

It’s difficult to imagine a more isolated place now, at least in Britain, but this site was important once — maybe not in the sense of great events happening here, but important to the hundreds of generations that lived and built here. Before the MacAskills, the peninsula’s Viking inhabitants turned the stream that joins the loch to the sea into a canal, broadening and clearing it, and lining its sides with beautifully made stone walls. They also made a stone quay and a system to maintain a constant water level in the loch, making it possible for their little ships, clinker-built ‘birlinns’, to use the loch as a refuge.

The author's father’s campsite overlooking Loch Brittle, c.1957.

I know that my father too made his way down to this end of the peninsular. Like me, he would have found the marks on the map indicating ‘Ruin’ and ‘Dun’ irresistible. Another photograph taken by him provided evidence. A snap of the Viking canal, taken from the same vantage point I would use decades later. This would have been a stop-off for him: a jaunt before the main event of climbing in the Cuillins. But, the engineering would have impressed him as much as the melting of architecture back into nature impressed me.

The stone walls of the canal are remarkably well preserved, but you gradually realise that there are other older secrets to be found. Rubha an Dùnain means ‘headland of the fort’ and, seemingly growing out of the stone above the canal, is the wall of an Iron Age ‘dun’. Its craftsmanship is no less impressive than the Viking remains it watches over. The wall would have been longer once but it has been defeated by the slow beating of time. Fifteen hundred years’ worth of storms tearing at the cliffs beneath it has left only a crescent of black stone and, where the interior structure once stood, a patch of scrub earth overlooks a precipitous drop to the waves below.

The erosion that has gradually undermined this ancient fort, gives a sense of the great age of this site as a place of human habitation, but across the waters of the lochan is something older still. On the embankment that separates the lagoon from the bay are the ancient humps of a Neolithic chambered cairn and a passage grave. When the dun was constructed in the Iron Age, these tombs were already thousands of years old. Like the crofts and the Iron Age ruins, they are left now only as marks on the landscape — reminders of the lives that have moved through it.

The last remnant of the Iron Age dun.

In amongst the crash and bustle of our lives, the environment we shape around us seems to be an enduring and indestructible fact. The people who lived here must have thought that once, too. But the fragments of architecture scattered here serve as a reminder that nothing is permanent. People die, places change; buildings are rebuilt or re-absorbed. We move on. But the act of building — the labour of piling stone and working timber into a structure — gives a place significance, and this sense of significance lingers long after a place has been abandoned. It turns a ‘place’ into a ‘site’ and the act of visiting it into an act of remembrance.

Humble as they are, ruins such as Rubha an Dùnain’s crofts mark a changing point when people’s destinies were bent, or a life suddenly altered and a future lost. I inherited my father’s reluctance to believe in anything that wasn’t based in observable fact, but when I encounter a place like this I find myself wondering if trauma can impress itself on a landscape in the same way genetic memory can affect unborn generations, leaving some sense of a haunting.

Geography was important for both my father and me. While our lives overlapped, the landscape was as a meeting place for us, literally and spiritually. He was fascinated by geology and the science of the landscape; the physical forces that shaped it and, by extension, the people who lived in it. Whereas he loved to think in terms of millennia, I tend to think in terms of generations. The things that draw me are always the fragments and remains of human endeavour — the marks left by people. In a landscape that reorganises itself over thousands of years, the tiny scars of buildings left by long-forgotten communities are only a flicker that rise and sink back into the ground. But for me it is their brevity that gives them meaning. Their presence in the landscape gives it a sense of scale — not just physically but in time — and in Rubha an Dùnain time is as much an element as the wind, earth and water. ≈©

The headland of Rubha an Dùnain with the islands of Canna and Rum in the distance.

 

 

DAVID FRANKEL is a writer and artist. His short stories and poems have been published in anthologies and magazines. He also writes nonfiction exploring memory and landscape. He is currently using these themes as the starting point for a larger autobiographical project combining prose, nonfiction and drawing. He lives in Kent.

Map and photographs by the author, except photo with tent by his father.

 

 

Thylacine

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i was per-
haps. i am may-
be. Was nearly now, al-
most then. Ex-
tant, ex-
tinct, just visiting, dithering
with existence. Am
listed as critical. Was
history. Soon rumoured.
i am virtually non- un- on
the brink of unique,
(in)conceivably, (un)feasibly
a one-, two-, none-off.
Am RIP. Yet just as i re-
ceive a cairn of commemoration
i glimpse myself from the cor-
ner of my eye and

       it was about ten metres away when I first noticed it. Sun was going down and I was stuffed after walking all day so I was waiting by the stream for Jase to put up the tent and make a fire and whatever the fuck else he does when he says it's time to camp. Thought it was a dog at first – it was about the size of Jase's sister's Lab, the one that flobs all over you, kind of pale like a Labrador too, but then I saw the stripes, and its body looked weird – like heaps longer than it should've been. I was too freaked to move, just sat there, couldn't breathe, couldn't even reach in my shorts for my phone. And just when I'm thinking I'm so going to pass out here, it turns round and disappears into the bush. And soon as it's gone, Jase comes over – took his fucking time – and says I've got the fire going, Soph. This place is unreal! . . . Aw, what's up? You look like you've seen a


     dog- wolf-headed,
     zebra- tiger-rumped.
     i have bygonned
     my image
     on the rock. They called me
     coorina, loarinna,
     chimerical miracle.
     i am thresh- flesh-
     holding, solid as persecution,
     dwelling in the realm
     of (im)possibility where
     there are fewer eucalypts
     than there ever used to be.
     Was i a clever fake? The proof
     is (in)conclusive. My
     marsupial pouch holds
     only fables now –
     the bandicoot i toss
     to see which way it lands,
     stars miraging
     the loss of my before
     after. Yet as i dis-
     locate my jaw
     with a phantom yawn a scream,
     i dream clean pawmarks
     in the mud and

                                                     mate, I couldn't believe my eyes. It was gone midnight, I'd skulled a few beers and was driving home over the Burrenbidgee. Parked by the bridge and got a pretty good squiz – it was standing there, ears up, tail out stiff like the tail of a roo – and then I thought I'd hop out the van and get a bit closer.  Mate, if I'd only had the .308 Winchester with me – guys spend years out in the bush trying to bag one of these bastards. Tried to film it on my phone before it shot through, but it was too shit-dark to see, so I grabbed my torch from the van and hunted round for a while and found what I reckon was a paw print. Soon as I got home, I googled it and, mate, I was

right wrong,
(un)imaginable, (barely)
credible, a twilit wishful
think delivered
by the (un)conscious mind.
Whistle me up, make me limbo
liminal (in)visible,
see what you expect
hope grope to see. Am
psychopomp, tulpa,
(preter)natural personal guide.
Was a figment of my
hallucination.
(Not even) quasi-

 

Last known thylacine, named Benjamin. showing his wide gape. Photo by Unknown.

The thylacine, a striped carnivorous marsupial also known as the Tasmanian tiger, is believed to have become extinct in the wild in the 1930s through a combination of culling, habitat loss, disease and predation by domestic dogs. However, numerous vivid yet unverified sightings of the thylacine, not only in Tasmania but also in mainland Australia, continue to this day.

 

THE WILD CULTURE SCRIBBLERS' QUESTIONNAIRE — Susan Richardson

1. What is your first memory and what does it tell you about your life at that time?
I am about eighteen months old. It's bedtime and I am in my cot, clutching a hard-backed picture book featuring Dougal from 'The Magic Roundabout'— evidence that books were important to me from a very early age.

2. Can you name a few poets who have influenced you who come to mind immediately?
This is always quite a difficult question to answer as echoes and influences of another poet may not become evident in one's own work until some years after having read the writer in question, and then only in subtle/not very obvious ways. So instead, I'll list some of the poets whom I admire and whose work has resonated at different times in my life, rather than state that they've had a direct influence: Alice Oswald, Les Murray, Jen Hadfield, Mark Doty, Selima Hill, Mario Petrucci, Pascale Petit, Juris Kronbergs, Jo Shapcott, Sylvia Plath, Ted Hughes, John Donne.

3. Where did you grow up and did that place and your experience of it form your sense about place and the environment in general?
Though I was born in Wales, I spent the first four years of my life in a house by the sea in Somerset. In my adult life, I've consistently been drawn back to the sea and have always sought to live as close to it as possible, so this early coastal experience had a significant impact on me.

From the age of 5, I was in Wales again, living on the fringes of a so-called 'new town.' With its 1960s urban architecture, countless roundabouts, concrete and car parks, I never really felt at home there. We were fortunate to have a large garden though, as did my grandmother, and I spent a lot of time out of doors, climbing trees and building dens and creating my own mini-menagerie of worms, caterpillars and snails.

4. If you were going away on a very long journey and you could take only four books — one fiction, one poetry, one non-fiction, one literary criticism — what would they be?
The Waves by Virginia Woolf; Les Murray's Translations from the Natural World; Hélène Cixous' essay The Laugh of the Medusa. I'm finding it more challenging to narrow down my non-fiction choice; can't decide between The Spell of the Sensuous by David Abram, Arctic Dreams by Barry Lopez, This Cold Heaven by Gretel Ehrlich, and Wild by Jay Griffiths.

5. What was your most keen interest between the ages of ten and twelve?
Trying to persuade my parents to let me have a puppy. I don't have siblings and really craved, and relished, the company of animals. I spent as much time with my cousins' and friends' dogs as I could, but my parents didn't relent and let me have a dog of my own until I was nearly 12.

Where is the borderline between animality and humanity? What are the animal possibilities of the self?          

6. At what point did you discover your ability with poetry?
I am not sure if/when I discovered an ability, but I certainly discovered a love of writing — stories and short plays as well as poetry — when I was about seven years old. Being an only child, I made my own entertainment through writing; the characters, both human and non-human animal, that I was creating were like an extended family. 

7. Do you have an engine that drives your artistic practice and if so, can you comment on it?
I am a passionate believer in the potential of poetry to inspire shifts in perception and create new patterns of thought and experience, and, to that end, I feel committed to writing poetry with an ecological focus. I am also something of a perfectionist, which can be both a blessing and a curse: long after my work is published, I still itch to tinker with it.

8. If you were to meet someone who seriously wants to write poetry, someone who admires and resonates with the type of work you do, and they clearly have real talent and asked you for some general advice, what would that be?
Rather than offering technical advice, I'd be keen to talk about emotional survival strategies: the need for persistence, and how to keep bashing away in the face of rejection.

9. Do you have a current question or preoccupation that you could share with us?
For the past few years, I've been obsessed with, and written poems galore, on animal-human metamorphosis. My new collection of poetry, skindancing, themed around shapeshifting and our dys/functional relationship with the wild, will be published in 2015. My sources of inspiration include animal-human shapeshifting tales from a number of different cultures, from Inuit to Celtic, Native American to Norse, as well as the work of visual and performance artists — plus personal experience of shamanic journeying and shamanic trance dance. I am attempting to explore a range of questions; for example, where is the borderline between animality and humanity? What are the animal possibilities of the self? Is it feasible to believe that exploring the 'becoming animal' theme through poetry may help to reestablish the connection with the animal parts of ourselves, and with the wider natural world, where we are just one animal among many — the connection at that Western culture has lost?

10. What does the term 'wild culture' mean to you?
To write, paint, dance, sing while always sensing, in David Abram's words, 'the soil beneath the pavement,' and, even when indoors, 'the moon's gaze upon the roof.'

11. If you would like to ask yourself a final question, what would it be?
Returning to question 4, have you made that non-fiction decision yet?

 

First published in The Journal of Wild Culture on April 16, 2014.

 

 

SUSAN RICHARDSON is a poet, performer and educator based in Wales. Her latest collection, Where the Air is Rarefied, a collaboration with visual artist Pat Gregory, focuses on environmental and mythological themes relating to the Arctic and sub-Arctic. Her third collection, skindancing, themed around human-animal metamorphosis and exploring our dys/functional relationship with the wild, will be published in 2015.

www.susanrichardsonwriter.co.uk

Top photo: Archives Office of Tasmania.

 


Moi Goes to Washington

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The Huaorani build group shelters in clearings using branches from the rainforest. [o]

Moi came to the United States of North America on a warm sunny afternoon, and though he hit the streets of Washington, D.C., at the evening rush hour, he walked in the city as he does in the forest—in slow, even strides. He kept his eyes on the ground and his knees bent, and he planted his broad feet deliberately, heel and toe, yet lightly as raindrops. It was the walk of a man accustomed to slippery terrain. I found myself stutter-stepping all the way down Pennsylvania Avenue, but Moi slid through the pedestrian horde like a fish parting water. He stopped only once, to study a squirrel climbing a maple tree: meat.

Moi wore dark khaki pants, a starched white dress shirt, a blue-and-gray striped tie, and brown leather shoes. The shoes were borrowed but the dothes were new, and, even if he was not entirely comfortable in them, he cut a handsome figure. In fact, except for unusually high cheek-bones, the leonine cut ofhis thick black hair-straight across his eyes and hanging halfway down his back and shoulders that threatened to burst the seams of his shirt, he looked like a typical tourist. Even in a city of international travellers, however, his journey was unique. It had begun deep in the Ecuadorian Amazon, in the homeland of his people, the Huaorani—a small but fearsome nation of semi-nomadic hunter-gatherers who have lived in isolation for so long that they speak a language unrelated to any other on earth. It had taken Moi nearly two weeks to reach Washington; travelling by foot, canoe, bus, rail, and air, he had crossed centuries.

Tucked into a handwoven palm-string bag that he'd brought from home were his passport, his toothbrush, his bird-feather crown, and a letter addressed to the President of the United States of North America. Moi had written the letter three times in a ten-cent notebook he always carries in his back pocket. The letter was an invitation to the President to visit the Huaorani [pronounced wow-rah-NEE]. He wanted the President to explain to the People, as the Huaorani call themselves, exactly why the United States of North America was trying to destroy them. "The whole world must come and see how the Huaorani live well," the letter said. 'We live with the spirit of the jaguar. We do not want to be civilized by your missionaries or killed, by your oil companies. Must the jaguar die so that you can have more contamination and television?"

"The soldiers will be on you like a boa on a tree rat."

At the White House gate, Moi reached into his bag and carefully removed his crown. It was made from owl, eagle, toucan, pafiot, and wild-turkey feathers, and when he jammed it down on his jet-black hair a thousand colors seemed to burst from the plumes. But the gate was closed, and for a long time Moi stood and stared silendy through the iron fence.

Then he said, "That house looks pretty small. Are you sure the government lives here?"

"The President lives here, with his family."

"Where are the soldiers? Are they underground?"

"Probably. And in back and inside."

He gripped the fence, as if testing its strength, and his eyes narrowed in calculation: he went into the Huaorani zone, as I'd come to think of it. When he returned, he said, "I believe I can climb this fence and reach the front door before the soldiers get me."

"It will not work, Moi."

"It will not work if I do not try."

"The soldiers will be on you like a boa on a tree rat."

"I will climb the trees and hide in the canopy. I will pretend I am hunting monkeys."

But I dissuaded him, at least for the moment, and we walked on. The sidewalks were full, and traffic roared.

"There are so many cars," he said. "How long have they been here? A million years?"

"Much less."

'A thousand years?"

"No. Eighty, perhaps."

He was silent then, and after a while he asked, "What will you do in ten more years? In ten years, your world will be pure metal. Did your god do this?"

Dusk tumed to night, and as we approached our hotel Moi stopped beneath a streetlamp. He pointed to the street. "More people, more cars, more petroleum, more chaos," he said. Then he pointed straight up at the light. "But there are the Huaorani, all alone in the middle of the world."

 

The Ecuadorian Amazon. [o]

Moi had been brought to Washington by a team of attorneys from the Sierra Club Legal Defense Fund, which, on behalf of the Huaorani, had filed a petition with the Inter-American Commission on Human Rights, an arm of the Organization of American States. Over the last twenty years, American oil development in the Oriente—as the Ecuadorian Amazon is known—has proceeded virtually without regulation. Every day, the petroleum industry dumps millions of gallons of untreated toxic pollutants into a watershed extending over fifiy thousand square miles of rain forest, and it has opened vast stretches of the region to colonization and deforestation. The impact has been so devastating that at least one tribe, the Cofán, has all but disappeared. Commercial oil production in the Huaorani territory is expected to begin sometime this year. The Huaorani petition charges that this will be ethnocide, and asks the commission to investigate, but it's a long shot, at best. Such an investigation would be beyond the scale of the commission's usual work, and, in any case, the commission has no powers of enforcement. However, its moral authority is enormous, and, long odds or not, an investigation could be the best chance the Huaorani have to avoid annihilation. The Sierra Club Legal Defense Fund hoped that Moi's testimony would persuade the commission to act.

Apparenty, this fact was not lost on the American Embassy in Quito, which often works closely with the petroleum industry. (ln 1992, the Bush Administration's designate for the post of Ambassador was the president of a Texas oil company.) Days before Moi was scheduled to testify, the Embassy denied him a visa, arguing that because he had no tangible assets tying him to Ecuador there was a risk that he would disappear inside the United States as an illegal immigrant. It could be argued that, on the contrary, Moi's assets run deeper than just about anyone else's in Ecuador, for the Huaorani hold legal title to a good chunk of the territory they have always occupied. But they hold that tide communally, and by Embassy standards this arrangement makes Moi a landless peasant.

At least, it did until the right question bounced onto the right desk at the State Department: Why was a plaintiff in a human-rights case being denied a visa? When I met Moi in Washington, one of the first things he did was produce his brand-new passport and show me the visa. "The Embassy changed its mind," he said. "It has invited me to visit your country for five years."

As Moi saw it, he was engaged in a war, and the Huaorani were ready to fight that war with spears made from the hardest wood in the forest—"spears that can kill fifteen men without breaking," he said. Indeed, anthropologists have called the Huaorani the fiercest people in the world. Though there have probably never been more of them than there are today—about fifteen hundred—they have, for as long as anyone knows, defended a territory the size of Massachusetts against all comers: the Incas; the Spanish conquistadores; the rubber barons; the armies of Ecuador and Peru; modern-day colonists and prospectors; and, always, their land-hungry indigenous neighbors, the Quichua and the Shuar, who together outnumber the Huaorani by almost a hundred to one. Biologically, the rain forest that the Huaorani occupy may be the richest place on the planet; to the Huaorani, it is the universe. But fighting the Company—the name that the Huaorani give all interests to whom the Ecuadorian government has sold the rights to the petroleum beneath their land—is something else again. Under Ecuadorian law, the Huaorani have no control over oil production and no share in its revenues. The Company plans to extract more than two hundred million barrels of raw crude from the Huaorani territory, and in its quest to exploit that oil it has revealed itself to be an enemy far more powerful than any the Huaorani have ever known: an enemy that, as Moi sees it, kills by destroying the source of all life, the forest itself.

The Amazon River, the largest drainage system in the world in terms of the volume of its flow and the area of its basin. [o]

Though it had been almost a year since I last saw Moi (we'd spent months travelling together in the Amazon), when he came to the hotel he greeted me in the Huaorani way, virtually without expression, as if only a few minutes had passed since we last spoke. "Chongkane," he said—that is what he calls me—and then he handed me his bag and his spears and walked into the room. Our relationship had been defined long ago, without words. In the forest, where I was helpless, he watched out for me at all times; in the city, I owed him no less.

We stayed at the hotel four nights. Moi discovered channel-surfing, baseball, the Washington Post, and modern warfare. Baseball, a game of spears and rocks, he enjoyed for its technique; beyond that, he found television useless. The Post he studied carefully each morning, mainly the airline ads (other than foot and canoe, small planes are the only transportation known inside the Huao territory) and the photographs. Of the latter, he was most taken by the somewhat violent shots of a clash in Russia. He asked me to translate the accompanying stories into Spanish—it is the language in which he and I converse—and peppered me with questions.

One morning, he asked, "The United States and Russia fought a big war, did they not?"

"Yes, they did. It lasted many years."

"Which country did they fight it in? Here or there?"

"Neither."

"That is impossible."

"They fought it in other countries."

"That makes no sense. That would be like the Huaorani fighting the Shuar in Quichua territory."

"Something like that."

He laughed. "That is a very stupid way to make war."

Moi spent most of the first night working on the statement he would make to the commission. He wrote it out in his notebook twice and then read it aloud, practicing his gestures. He would wear his shirt and tie, and over them his jaguar-tooth necklace, his string bag, and the reed tube in which he carried blowgun darts. "In the forest I wear this," he said, touching his necklace, "but your world wants me to wear this," and he tugged on his tie.

He read slowly, with little of the force or charm that came so naturally when he spoke. "Your ideas are good, but use your own words," I suggested. "Speak as you would without the paper."

"You mean speak like the jaguar," he said. The Huaorani consider the jaguar the most powerful force in the forest; as a "jaguar shaman"—a shaman with the ability to transform himself into a jaguar—Moi's grandfather is the most deeply revered man in the culture.

Later, exhausted, Moi told me he wanted to clean up and go to bed. I showed him the shower, but somehow it seemed inadequate. For the Huaorani, bathing is communal. In late afternoon, people all head down to the river, and they hang out there for what seems forever, soaping up, swimming, gossiping, joking, and flirting. By comparison, a hotel shower seemed soulless. Still, Moi disappeared into the bathroom for about an hour. I heard the water go on and off several times. Finally, he emerged, wearing only his shorts, his skin red as a boiled lobster.

"Tomorrow, I would like a new hotel room," he said.

"Why?"

"I would like a room that also has cold water."

He dressed himself completely and had me tie his tie. Then, fully clothed, he got into bed. Like many Huaorani, he drew no hard distinction between day and night. He would wake several times, to eat, to pace our suite, to analyze the new sounds he was hearing.

He pulled the blankets up to his chin. "Chongkane," he said, "will we win?"

"You will try your best."

"We must win or the Huaorani will disappear forever."

Then he closed his eyes and, as always, fell asleep in seconds.

"The Huaorani were ready to fight that war with spears made from the hardest wood in the forest." [o]

Moi had spent enough time among the cowode, or "cannibals"—as the Huaorani call all outsiders—to know that the Company could not be defeated by spears alone. Early in 1990, when he was twenty-four, and of an age to assume a position of authority within his culture, he and some other young Huaorani leaders founded the Organization of the Huaorani Nation of the Ecuadorian Amazon, or, in its Spanish acronym, ONHAE. For the Huaorani, a notoriously clannish peo­ple, ONHAE was an unprecedented at­tempt to develop a national voice. It al­most worked. In March of that year, hundreds of Huaorani from across the territory came together to hold their first elections. Moi was elected Vice­-President. He and the other officers spent the next three years crisscrossing the vast territory by foot and canoe, try­ing to organize their people. It was brutal work; Amo, the Secretary, was killed in the course of it, and the Presi­dent, Nanto, had his spirit so broken that when his term of office ended, in February of 1993, he did not run again.

Moi, too, retired, because he believed that ONHAE should have new officers­—that power should be passed on. But then he saw his dream undermined­ and, indeed, destroyed. He told me that the Company had bought the elec­tions, working together with American evangelical missionaries, as it had done for decades. On Election Day, the Company gave the Huaorani helicopter rides, and when Moi's friend Enqueri became President it fitted him with den­tures. Moi said that Enqueri was a good man but weak, because he'd been reared by the missionaries; they had a hold on him that could not be broken. Enqueri made a deal with the Company that not only sanctioned oil production but essentially put the Company in charge of Huao health and education­—an arrangement that the Ecuadorian government, which has long consid­ered the Huaorani situation a political embarrassment, was only too happy to support. 'We were sold like meat," Moi said.

So Moi had journeyed to Washing­ton to invite the whole world to come and see what was happening to the Huao­rani. The next morning, at his insis­tence, we made another attempt at the White House; once again, the gate was closed. Nearby, however, there were two life-size cutouts of Bill and Hillary Clin­ton. I explained to Moi who they were. He nodded, stepped between them, slipped his palm into Bill's, and turned stone-faced to the photographer. After the Polaroid developed, Moi studied it seriously, in the way the Huaorani often study photos: he held it upside down, sidewise, and at an angle, to be sure he understood its essence. ''Yes," he said. "That is me." Satisfied, he tucked it in his bag. Then we strolled past the Washington Monument. Moi as­sumed that it was an oil well, because in his part of the Amazon rain forest the only place one sees such an expanse of cleared land and such an immense struc­ture is where the Company is at work. It made sense to Moi that an oil well would stand right in the heart of the center of power in the United States of North America.

I can't reveal what happened at the commission hearing that afternoon; having spent several months in the Huao­rani territory, I was also asked to appear as a witness, with the understanding that I would not report on the proceedings. But I think it's fair to say this: Moi took to heart my suggestion to "use your own words." The hearing was in Spanish, which Moi speaks fluently, and when it came time to testify he indeed roared like a jaguar. However, he did so in Huaorani. The commissioners sat back, stunned. As I learned later, Moi told the commis­sion that the Huaorani protected the forest for the whole world, and that they had never been conquered and never would be. By the time he reached his warning that the Huaorani were "the bravest people in the Amazon" and would defend themselves "with spears from all sides," he was half out of his seat with the intensity of his oratory. About then, one of the Sierra Club Legal Defense Fund attorneys leaned over and said, very quietly, "Now say it in Spanish." Moi slipped into Spanish without ap­pearing to miss a beat. "Please do not abandon us to the Company," he said.

When your sky falls," Moi said, "this will hold up the clouds."

When the hearing ended, about a half­-dozen commission members gathered around Moi to introduce themselves. As it happened, Moi had brought several string bags with him from the forest. The bags had been woven by Huaorani elders. Each bag had taken about a week to make. The palm leaves had to be searched out, picked, and peeled; the inner skin was then boiled, dried, spun, dyed, and wo­ven into a netlike, incredibly strong, and, to my eyes, subtly beautiful bag, which would last a generation or more. Moi had hoped to fetch about five dollars for each bag, and perhaps a dollar more for "transport." (Although the younger Huao­rani men can sometimes find work as la­borers outside the territory, most of the women and the older men depend on such handicrafts to earn a little cash for things like shotgun shells and malaria medicine.) As Moi figured it, there was no better place to start his sales cam­paign than with the commission. But the Huaorani are warriors, not traders; they are merciless to their enemies and generous to their friends; and within five minutes Moi had simply given away all the bags he'd brought. He gave away a spear, too, to the commission's executive secretary. "When your sky falls," Moi said, "this will hold up the clouds."

The next day, the commission said that although it was strongly in­terested in the Huaorani petition, it could not, under the bylaws of the O.A.S., conduct an investigation unless it was invited to do so by the host coun­try. In this case, that invitation had to come through the Ecuadorian Ambas­sador to the O.A.S., who works out of the Ecuadorian Embassy. The Embassy tends to make the Company's interests its own. (Last December, after a group of Oriente Indians filed a one-billion­ dollar damage suit against Texaco, in New York, the Embassy intervened in an attempt to block the suit from being heard in the United States.) You can see the problem, the commission said. Perhaps Moi would speak with the Ambassador?

While the Sierra Club Legal Defense Fund attorneys spent all the next day trying to arrange a meeting at the Ec­uadorian Embassy, Moi put his time to good use. Speaking Spanish, he quickly developed a rapport with the hotel's ser­vice staff. He learned how to run the el­evator, he stuffed his bag with free shampoo, and, as often as he wanted, which was often indeed, he was served a humongous dish the kitchen named the Moi Plate—a bottomless gob of chicken, shrimp, rice, potatoes, and "leaves," as Moi called lettuce.

Though his Spanish clearly served him well, Moi was determined to learn English, because he wanted to meet American women. He was convinced that until he could speak to them in their own language he would be ignored. However, in every place I have travelled with Moi women have seemed to appear out of nowhere and attach themselves to him. (Once, in Ecuador, I'd watched a young European heiress all but propose marriage.) As far as I could tell, Moi did nothing to encourage this attention. Rather, women left him paralyzed with shyness; they were the only force I'd seen, in forest or city, that inspired in him anything that might be called fear.

Chevron was fined $8 billion for polluting the Amazon in a history-making case. [o]

Moi never did get inside the White House, but he came close. A few hours before our train was to leave for New York, he settled his crown into place, adjusted his jaguar-tooth neck­lace, and marched through the metal de­tectors inside the Old Executive Office Building. He'd been invited to meet with the director of the White House Office on Environmental Policy, Kathleen Mc­Ginty, who had visited the Huaorani ter­ritory for a few hours last August, when the Company and the United States Em­bassy flew her into Enqueri's village. (A few weeks later, a photograph from that visit appeared in the Times; McGinty was wearing a Huao headdress and the some­what startled expression that most cowode wear most of the time in the territory, as if they'd landed on another planet.)

Moi told McGinty what had hap­pened after she left, when the Company and Enqueri staged a ceremony for the signing of the agreement that endorsed the Company's presence on Huaorani land. After the ceremony, Moi said, doz­ens of Huaorani fell sick with disease, and one little girl died. Furthermore, he said, many of the Huaorani were op­posed to the agreement, but they hadn't been allowed to attend the ceremony. In the past, ONHAE would have held an as­sembly before making any such deal, and representatives from all parts of the territory would have come together and discussed it until consensus was reached. But, according to Moi, only Enqueri and a few others had read this new agreement, and only Enqueri had signed it. Many Huaorani believed it to be a deal for T-shirts.

McGinty assured Moi that the White House was interested in the Huaorani and would be keeping an eye on the situa­tion. Though I, for one, had no doubt of her sincerity, Moi seemed disturbed as we left. He felt that he had failed, somehow. In the corridor, he said, "The Company can speak whenever it wants to, but this is the only chance the Huao­rani will have to be heard. If only the government would come to the forest­—if only it could see." He was lost in thought until we hit the street. Then he said that he was thinking of changing his name. Moi, he said, was a Huaorani word that meant "dream," as in a vision, but now it was too late for visions. He would change his name to Dica, because dica means "rock.""A rock can be struck many times, but it can never be hurt," he said.

Our last stop on our last day in Washington was the Ecuadorian Embassy, where, finally, a meeting had been arranged. Where the Old Execu­tive Office Building had bustled with activity, the Embassy seemed a throw­back to colonial South America and an authoritarian order that, centuries after the conquest, continues to dominate nearly every aspect of Ecuadorian cul­ture. The building itself is haciendalike and cavernous, and a ghostly emptiness greets the visitor. The only life in evi­dence on the ground floor was huddled into a comer: a dozen of the forlorn Latin faces one sees throughout Ecuador, faces reflecting resignation to a long and most likely fruitless wait for an audience with whatever power it was that lay hidden an indication of the seriousness of the O.A.S. case that Moi and his attorneys were ushered into the Ambassador's office right on time for their meeting.

Strong coffee was served in tiny cups. The Ambassador is a small, dapper man with a rhetorical style that is common, in my experience, to virtually every bu­reaucrat in Ecuador: parry slightly, then thrust with an aggression meant to buckle the knees. As he sipped his coffee, he listened to Moi's proposition: Invite the O.A.S. to study the territory and, if problems were found, impose a moratorium on oil development until they could be resolved. When Moi finished, the Ambassador smiled and put down his coffee cup. In a voice that grew steadily more intense, he said that the Huaorani were not a sovereign na­tion; they were Ecuadorian citizens. Ec­uador depended on oil for half its rev­enue, so to impede production was akin to treason. And how could Moi claim to speak for the Huaorani? Just two weeks before, their elected leader, Enqueri, had sat in the Ambassador's office. He had come to the United States with the Company and the missionaries, and he had seemed very happy with the agree­ment he'd made with them. As far as the Ambassador could tell, the Com­pany was doing a fine job.

Moi listened impassively and, to all outward appearances, patiently. For the Huaorani, political discourse, such as it is, is a matter of long discussion aimed at achieving consensus; aggression means spears, and putting one's life on the line. When the Ambassador had finished, Moi had only one point to make: If the Company was doing a fine job, what harm could there be in an open investi­gation? Everyone could participate: the Company, the government, the Huaorani, the O.A.S., the whole world. Let every­one come and see. Let everyone speak.

The Ambassador was silent for a mo­ment. Then he said, "Do not think for one second that there will ever be a moratorium on oil development. But I will talk to the commission and tell them about our discussion today. And then we will see."

"They hang out there for what seems forever, soaping up, swimming, gossiping, joking, and flirting." [o]

While we were waiting to hear from the commission, we took the train to New York. For the first hour, Moi amused himself by adjusting his seat. Then he practiced English: "Hello. How are you, Miss?" and "Good morn­ing" and "Thank you." He leafed through a mail-order catalogue—jackets, shoes, watches—and asked the same question about each item: "Is this waterproof ?" He found Chesapeake Bay beautiful and added its name to a list he was keeping of cities and towns. After we entered the industrial corridor north of Delaware, however, his face lost its glow. We passed a field of giant tanks used for storing chemicals; to Moi, they looked exactly like the tanks the Company uses to store oil.

For a long time, he didn't say a word. Then he asked, "Chongkane, are there any Indians here?"

"No."

"Were there Indians here before the Company came?"

"Yes. There were Indians everywhere."

"Were they killed?"

''Yes."

"All of them?"

"Almost all."

From there to Pennsylvania Station, we rode in silence. Once in New York City, however, Moi perked up. Proceeding at his usual slow, steady gait, he slipped easily through the crowds mill­ing in the station. Only one thing seemed to throw him. As we stood in line waiting for a cab, he bumped me with his shoulder and nodded toward two young women ahead of us.

"You are on your own," I told him.

He went into the Huaorani zone, as if to summon every ounce of courage he had. When he returned, he looked at one of the women, and said, in perfect En­glish, "Hello." She smiled at him; he froze. Then he turned, looked me right in the eye, and said, "How are you, Miss?"

Over the next couple of days, we ne­gotiated Manhattan carrying a nine-foot Huaorani spear. ("Cool," someone re­marked on Forty-second Street.) When we travelled by cab, it protruded like a jousting lance, scattering pedestrians be­fore it, and at the hotel it melted crowds. ("Good Lord," said the doorman.) Moi was impressed, but not overwhelmed, by the immensity of the buildings; per­plexed by the terraces that grew forests high above the ground; and flummoxed by the city's pace. "In Ecuador, we wait all day for four o'clock. In New York, four o'clock comes with breakfast." Through it all, however, Moi remained utterly him­self. One night, we ate dinner at a Mexi­can restaurant, near a drug-rehabilitation center. At the table behind us, several men and women were engaged in what might be kindly described as group therapy. They screamed and shook their fists at one another. Moi studied them carefully until a woman pitched forward and passed out on the table. Then he leaned over and spoke to her softly, in a voice filled with compassion. "Good morning," he said. "Thank you."

It is unlikely that Moi would ever dis­appear into the United States as an illegal alien. He finds life here pleasant, but he finds life at home thrilling. Eat­ing in restaurants is no match for hunt­ing wild boar. Moi's village, Que­hueriono, is hidden in dense forest high on the crystal-clear Shiripuno River, in a breathtaking region of deep valleys and mist-shrouded hills backed by snow­capped volcanic peaks. In fact, Moi lives in the heart of what may well be the richest biotic land on the planet. Though the Oriente is no larger than Alabama, as many as twelve thousand species of plants are estimated to grow there, or roughly five per cent of all the plant spe­cies on earth. At a single research sta­tion, not far from Quehueriono, observ­ers have recorded four hundred and ninety species of birds, or about two-thirds as many as are found in the entire conti­nental United States; four hundred and seventy-three species of trees—roughly the number native to all of Western Eu­rope—have been identified in a plot of forest about the size of two football fields.

''The lawyers will have to explain," I said, and took down the number.

Though the Oriente constitutes per­haps two per cent of the landmass of the Amazon basin, it plays an inordinately large role in the basin's ecology, because almost half the rivers that flow into the Amazon's headwaters originate there. What happens in the Oriente, in other words, resonates throughout the Ama­zon. This is a terrifying notion, consid­ered in the context of American oil de­velopment, which has proceeded almost unchecked since Texaco perforated its first commercial well there, some twenty-two years ago. Since then, a three-hundred-and-twelve-mile pipeline that runs from the Oriente to Ecuador's Pacific Coast has ruptured at least twenty­-seven times, spilling into the Oriente's delicate webwork of rivers, creeks, and lagoons more than one and a half times as much oil as the Exxon Valdez spilled off the coast of Alaska. According to Judith Kimerling, a former environmen­tal litigator in the office of the New York State Attorney General who has spent most of the last five years investigating the impact of oil development on the Oriente, the petroleum industry is spilling an addi­tional ten thousand gallons a week from secondary-flow lines and is dumping some 4.3 mil­lion gallons of untreated toxic waste directly into the water­shed every day. People living in the oil-producing areas suffer from exceptionally high rates of malnutrition, spontaneous abortion, cancer, birth defects, and other health problems linked to contaminants. (A re­cent study of the water supply in the Oriente, made by a team of Harvard­-trained scientists, found extremely high levels of polycyclic aromatic hydrocar­bons, an element of crude oil so toxic that the United States Environmental Protection Agency considers any amount at all to be an unacceptable risk.)

Thus far, oil development has hit other areas of the Oriente far harder than it has hit the Huaorani, but that situation is changing rapidly. Later this year, Maxus Energy, a Dallas-based company, which holds concession rights to the Huaorani lands, is expected to open the first of about a hundred and twenty commercial wells inside the ter­ritory. Before the project is finished, it will have completed a seventy-five-mile pipeline and ninety-four miles of access roads, and as it is sinking its wells it will add miles of service roads. This infra­structure will help open up to develop­ment, by any number of other oil com­panies (American concerns operating in the Oriente include Arco, Occidental Petroleum, and Oryx Energy), and to colonization, by any number of desper­ately poor settlers from outside, the rest of the Huaorani territory, and, indeed, the rest of the Oriente. By some esti­mates, the Oriente will be completely deforested early in the next century.

Over the next twenty years, Maxus will extract enough raw crude from the Huaorani lands to meet the United States' energy needs for about thirteen days. Unless something changes, soon, it seems safe to assume that by the time that oil is gone the Huaorani will be, too.

After two nights in New York, still without word from the commis­sion, we flew to Oakland, where I live. Moi did so with trepidation: he had heard that there was no meat in Califor­nia, that people ate nothing but leaves. We walked in the red­woods: Moi was astounded by their size but disappointed that they harbored neither jaguars nor monkeys. At my house, he turned the bamboo patch into a blowgun factory and stalked squirrels and pigeons, and he engaged me in a running de­bate about the globe in my living room: Why put a map on a ball? Maps were fl.at. If the world were round, the water would fall off.

Finally, the day before Moi was to leave, the call came from Washington: the Ecuadorian Ambassador had spoken to the commission and invited it to Ecua­dor, the commission had accepted. Though the Ecuadorian government had yet to put the invitation in writing, and thus make it official, the commission believed that this would just be a matter of time.

It was about then that Moi learned how to slap a high five. Later, he chanted the jaguar spirit into my home, to pro­tect me until I could return to safety in the land of the People. Then he was ready to depart. "There is not very much to learn in the city," he said. "It is time to walk in the forest again." Then he said, in English, "Hello," and then he was gone.

Moi's visit occurred in the fall. Two weeks after he went home, the Ecuadorian government sent the O.A.S. a letter in which it said that there had been a misunderstanding; that it would not extend a formal invitation; and that, essentially, it saw no reason for an inves­tigation. There was no way to get this information to Moi. As far as I knew, he was waiting in Quehueriono, ready to roar like a jaguar not only for the com­mission but for the President of the United States of North America and the whole world.

Then, in January, I received a collect phone call from Ecuador. The connection was awful, but I heard "Chongkane" come swimming through the static, and for a moment I was startled. Then I was wor­ried. Moi spoke as he always did—directly, without introduction or niceties—but his voice had an urgency I'd never heard be­fore. He had made his way to Quito, he said, to the house of a cowode friend, who had put the call through for him. He wouldn't stay long in the city. The gov­ernment was after him. They were an­gry about what he had said in Washing­ton. At the least, they would revoke his passport; at worst, he feared for his life.

Moi photographed by Richard Avedon, Oct. 8, 1994.

"When is the commission coming?" Moi asked.

''The lawyers will have to explain," I said, and took down the number.

"Tell them to call right away."

"I will. Be careful, Moi."

"The Huaorani live well!" he said, and hung up.

In March, a friend who works with the Huaorani (and whose knowledge of the Oriente once saved my life) told me, ''The word is that Moi is a dead man." He added that the military had recently picked Moi up for "interrogation." He was released after two days, apparently unharmed; still, I found myself wonder­ing if l would ever see him again.

One of the ways I go to visit Moi is to travel by truck down an oil­ development road called the Via Auca, then by canoe up the Shiripuno River. The Via Auca is lined with oil wells and a pipeline, and right near the Shiripuno there is a large cluster of wells and a pumping station. If there is any one point in the long journey to Moi's home when I feel that I'm leaving one culture and entering another, it is when the ca­noe takes the first bend in the river and the wells and the road and the pipeline disappear behind me and I am sur­rounded by nothing but forest.

In January, the pipeline ruptured right where it crosses the Shiripuno, spilling so much oil into the river that it created a slick thirty miles long. But that was nothing compared with what had happened in November: one of the wells burst into flame and burned out of con­trol for nearly a week. It was, by most accounts, the biggest fire ever seen in the Oriente. The oil-fed flames are said to have leapt so high that they dwarfed the great forest itself, and to have spread so fast that no man could outrun them. ≈©

 

Used with the author's permission; this article first appeared in The New Yorker, May 2, 1994. 

 

LINKS

Yasuni Rainforest Campaign

Review of Savages, by Paul Trachtman, Smithsonian Magazine.

Radio interview with biologist E. O. Wilson on the need to protect the diversity of the Amazon.

 


JOE KANE is a journalist who writes for numerous publications such as The New Yorker, National Geographic, and Esquire. In addition to Savages (1995), he is the author of Running the Amazon (1989), a firsthand account of the only expedition ever to travel the entire 4,200-mile Amazon River from its source in Peru to the Atlantic Ocean. The book is listed on Outside Magazine's "25 Best Adventure Books of the Last 100 Years" and National Geographic's "The 100 Greatest Adventure Books of All Time". Joe is currently the executive director of the Nisqually Land Trust, the lead nongovernmental conservation organization in the Nisqually River Watershed, in west central Washington state.

 

Six Million Trees

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Six Million Trees
by Kristel Derkowski
Rock's Mills Press (2016)
Soft cover, 252 pages

The only thing we do is plant trees. That’s what makes people crazy. It’s the only thing we do. We plant trees all day, one at a time, over and over and over again. Every day, all day, we plant trees. We’re trying to make money—to make good money—so we plant them quickly. We have to plant fast, fast and nonstop, ten hours a day. Ten hours a day, ten cents a tree—to make two, three, four hundred dollars a day—how many trees do you have to plant, to make that kind of money, when you’re being paid ten cents per tree? How many trees can a person possibly plant? It’s the only thing we do. By the end of it, people go crazy. Bush crazy, we call it. Because we’ve been living in the bush for a long time. Because we haven’t seen anyone else. We haven’t done anything else. We plant trees all day. It’s the only thing we do.

When I went tree planting for the first time, it wasn’t because I wanted to go tree planting. It was more because I had nothing else to be doing, and because the world was making me claustrophobic and I had to escape somehow.

The sheer predictability of it was closing in around me. To hell with it. I decided to flee the country.

When Arron approached me in our second year of university, I’d been about to drop out of school. It was February; spring was approaching and the dull season of education would be over soon enough. Then as summer rolled in I would be scrounging around for some kind of irrelevant low-wage job and then spending four months grinding away my daytimes in order to pay off another season of school—And then after that was over I was supposed to go scrounging around again for some kind of entry-level employment in order to pay rent somewhere so that I could sleep in the same place every night and wake up in the same place every morning, spend the days watching the clock tick itself out over and over again and then go to sleep in the same place every night, and wake up again and so on—and the sheer predictability of it was closing in around me, and I was there thinking to myself, to hell with it, and I decided to flee the country.

Arron’s job offer was a sudden escape route. I thought maybe if I went through with this thing, then maybe I wouldn’t have to worry about the money, and also maybe it would burn out some of the wanderlust and then maybe I’d be able to go through with the rest of my schooling—as prudence advised. So that was why I chased after Arron and told him, Yes, can you please get me a job.

As I’ve said, it was terrible and it was the hardest thing I’d ever done but at least it wasn’t boring—at least, not in the same way that real life is boring—and what’s really important is that it’s very hard to be claustrophobic in a clearcut.

When I was hired, I didn’t know what a clearcut looked like, and I never really stopped to think about it. Somehow in the back of my mind, in those months approaching May, I was envisioning a quiet sun-dappled forest and all the healthful benefits of fresh air and exercise.

Which in hindsight, of course, is either quite sad or laughable. But as the saying goes, you live and learn.
So on my first day of tree planting, I learned what a clearcut looked like, and I was afraid—I mean, I was truly afraid, to such a degree that it was almost sickening.

We drove to work in a school bus that had a portrait of the Virgin Mary duct-taped above the windshield, gazing demurely over the rows of ragged seats. Above the door, just right of the Blessed Mother, there was more duct tape which spelled out spiky capital letters and an arrow and it said WELCOME TO HELL and the arrow pointed down to the open door, which in turn framed a frigid slice of clearcut and a white tarp over a cache of trees on the ground.

And it was, yeah, it was the closest I’d ever come to being in hell, all day every day.

Here’s what I discovered.

A clearcut isn’t a sun-dappled forest, and it isn’t a farmer’s field. It’s a wild shredded terrain that’s massive and churned up and it completely dwarfs the little human specks that go crawling around inside of it like tiny bacteria in a festering sore. Tree planters don’t spend their days strolling across cool fields of soft brown earth. They spend their days fighting, tearing, kicking and splashing, and at the end of the day they come out bruised and ragged, with eyes that burn blankly ahead because the mind is gone and the body is too tired to blink.

That’s how it is. A clearcut can be a varied terrain but it is very rarely an easy one. There are turned-up logs strewn across it with the roots towering above, nets of tangled branches to climb through, icy black moats thigh-deep, and slippery mud that blows the knees out. There are house-sized boulders cracked by fire, and sheer cliffsides hard and crumbling. There are fields of shoulder-high thorns stretching to every horizon, and whipping branches and hornets’ nests—and tree planters go barreling through it all and they learn to enjoy pain.

On my first day it was snowing, lightly. I planted about seventy trees. I earned about six dollars.

At the end of the day, every day, Camp Cost was taken off of each planter’s paycheck to cover the cost
of food and gasoline: Camp Cost was about twenty-three dollars.

Beyond the inherent difficulty of carrying a third or half your own body mass in added weight and moving nonstop for ten hours and doing the same motions on repeat with all of the force you can muster— Beyond that, well, sometimes you get lost. Or at least, I got lost. I got lost so much that it was downright
embarrassing.

On my first day they told us this.

Plant trees, two metres apart from each other, all over your piece of land, with every tree tight and deep
and upright in mineral soil.

Mineral soil? I found rocks and moss and sticks, brambles and decaying organic matter, but I didn’t find
any soil. Haphazardly I put trees in the ground as deep as I could manage to, and then I lost track of the trees themselves and I couldn’t remember what direction I was supposed to be walking in, so then I went meandering in these slow jagged zigzags, stumbling over the seedlings I’d already planted, and every time I stood up to get my bearings everything rearranged itself and all those tiny hand-length stems disappeared completely into the chaos of the landscape and I had no idea where I was or what I was doing.

I staggered around kicking my shovel desperately into the ground, because I couldn’t muster enough force with my arm alone, and it might have been one hour or five before my crew boss found me. Amo arrived on foot, walking the land between all the rookies—rookies, who had flooded the camp and outnumbered the veterans—and he found all my invisible trees and followed them to me and tugged on them, pulled them up and said,

These are some of the worst trees I’ve ever seen.

So everything was off to a pretty bad start, and that went on for a while.

Our season, this year, began and ended in the rain. In the beginning it was early-May rains: drizzling sleet freezing everything into steely shades of grey. The churned-up roadsides were blackish mud and whitish frosting; the distant treeline was dark-grey, shadow-grey behind the mist. And everything between —stumps, sticks, snow, swamp — massive untamed landscapes all in shades of cold indifferent grey. For the first few days our hands froze into claws. The seedlings themselves were frozen, too; they came frozen in clumps straight from the tree nursery. We would kneel at the caches on the roadside, crouch beside the tarps where the bundles of baby trees were all piled in their white-plastic bags. We’d rip the bags open with frozen hands shaped like bloody hooks, and we’d grind our white-hard fingertips into the cracks between the root-pods to sever them apart. We’d shove trees by frozen handfuls into the plasticky bowels of our tree-planting bags. Shrug into the wet shoulder straps, clip the heavy waistband closed, tight, and charge back into the land. Heads down, half-closed eyes gazing groundward, with sleet tapping our hardhats and sleet seeping into our shirts and into our pants and socks and underwear. One tree at a time: Kick at the ground, stab it with the shovel, open a hole with a twist of the arm; Slide the root-pod of a tree into the little opening there, and stomp the hole closed with one boot; Then two steps, forward; And again, And again. The trees were baby spruce or baby pine. Their stems were just the length of a finger or the length of two hands, or anywhere between. Their roots were held in cylindrical pods of dirt, wrapped in cheesecloth, sized to fit roughly in a fist. Once every six seconds — or so — we would each bury one little pod in the soil, with one little stem standing up and sticking straight out. And then another. We would carry about three hundred trees at a time, piled into our planting bags, strapped to our shoulders and waists. The bags hung off our hips, one on either side. One bundle of seedlings inside each planting bag; a hundred-fifty-odd trees hanging from either hip. We’d take one tree out at a time, and plant it in the ground. And then another, and more-or-less three hundred more. Then march back to the roadside cache, and kneel, and claw, and refill and charge in — Faster this time. More trees, more money. More trees, more money: that’s it, that’s how it goes. Our hands would be frozen while everything else was burning: back muscles, thighs, shoulders and arms — knees, elbows burning as they creaked — everything rusty from the off-season — eyes and cheeks burning under the cold white sun — bloody knuckles and blistering palms, frozen numb and still burning. Eyes down, head down, spine horizontal and one hand in the ground. The other hand clamped onto an undersized shovel: shovel less than the length of an arm, slicing the earth open, twisting and swinging away to slice somewhere else — and again — once every six seconds, or so — Faster. More trees, more money. Three hundred trees in the land, then back to the road. One tree every six seconds — Faster. Back at the roadside, knees in the mud, we would chug water out of gas cans, water almost-frozen like everything else. Once in a while, we’d pause to inhale a sandwich or a piece of fruit or some sugar-packed power-snack, gripping and ripping with those bare blackstained claws.

The author gives the (wounded) finger . . . a little protection.

And charge in again, bent-backed. Faster. More trees, more money. Simple enough. Around 6 pm each day, we’d empty our bags for the last time, clip them light around the waist. We would pick up the almost-frozen gas jerries, shrug into our muddy backpacks. Carry our shovels, lower our heads and stomp or sway or stagger back towards the van. Fifteen people in the van, and our gear on the roof. The windows would go white and the swampy wetness of the clearcuts would seep out of our socks, boots, seep out of our pants into the fuzzy grey carpet. Shoulder-to-shoulder, we would share food, words, sweat and foggy breath, and Konrad would drive us back to camp. That was the beginning of it. That’s how the days went by. More money, more trees. Simple enough.

Following Korea we spent four days in Japan. It was another section of burn block, just east of where we’d been.

Black shining logs strewn across the ground, red and green mosses shooting out in between. The massive twisted stumps there had their soot-faced roots exposed where the soil had eroded away, after the forests were cut down. There were graveyards of round white stones and soft patches of ash on the ground. There were tangled tan branches of raspberry and, where the chem-spray had been missed or rained away, there were thickets of glinting poplar.

The roads to Japan were deep and sandy, and the van got stuck a lot. We’d tumble out, then, blinking half-alive into the white daylight, and we’d get behind, at the back or the open side doors, and we’d push, push, while the wheels spun and spewed sand around. Roll forward six inches. Put sticks and logs under the wheels for traction. Push and spin and push—let’s try backwards—push and roll backwards six inches, move the sticks and push again.

After this went on for a while, it seemed as though Konrad found a new technique to navigating the road. It seemed as though he simply stopped using the brakes. We’d fly around the bends, against the ditches and branches tight on either side, and in the backseat we’d be hitting our heads on the roof. The road rattled the van, clattered so loudly that it was hard to talk over, and I could feel the rattling inside of my left leg. It was like the noise jumped right inside of my bone, and I could feel it buzzing in there, somewhere between ticklish and painful.

Konrad asked me how my leg was doing. I told him maybe it was broken. He’d usually ask once a day.

Ten hours passing by, with one or two little dialogues to break the silence. Once a day, Konrad and I would have the same conversation, and then it would linger in the air even after that and chase me around—more and more meaningless each time until he stopped asking—How’s the leg? It’s totally fucked. How’s the leg? It’s fucked. How’s the leg? It hurts.
How’s the leg? It functions. How’s the leg? It’s a leg.

Plant a tree, plant another tree. There was nothing else to be done or said about that. There was no reason to say anything unless it was important, logistical—trees, land, vehicles—and otherwise it was a joke, it was something obscene.

How’s the leg? It’s fucking great.
It’s fucking great, it’s fucking great—

Mornings, evenings, trees, steps, words, music. Music, all on repeat. I fell into time with one single album, twelve songs that I listened to on repeat. Every day I could hardly wait to put this beat into my ear and hammer along within the hammering of the music. Always in my right ear and not the left, always the same. All day without fail, the same twelve songs. By the end of the contract, I’d listened to the same twelve songs about three hundred times in a row. Three hundred times on repeat, and nothing else, ever.

My leg is fucking great, I said. Fucking great, I bent down and bent down.
Bent down a thousand more times and the album would start over.
Fucking great—
And I started to go faster. There was a lot of pain and perhaps it was adrenaline—again—that made me go faster. I kept falling over.

One leg, now, less numb. Feelings started to return: exhaustion and hunger and smiles and words. 

I stepped on uneven ground, I twisted the ankle slightly—and my left leg would fold and I would be on my knees. Inconvenient. Climbed up, heavily, staggered upright just to bend over again.

Bend over, bend over and the album started over.

I walked out of my land and folded onto the roadside by accident. Glanced up and saw Konrad down the road, on the quad, and he was looking at me.

I stood, again, upright and walked back to my cache, and at my cache I folded again, but deliberately this time. Konrad roared up and accused me—smiling, smiling again— I saw you sit down on the road there—
And I told him, I didn’t sit down, I fucking bailed and ate shit.
 And he didn’t say anything. Smiling again, shrug, again, he roared off again.

I started to go faster.

While drunk on our Night Off in camp, that shift, I told Konrad that I would hit a Personal Best the following day. That would be our final day in Japan.

And so I did. I’d started to go faster.
Rolling hills in red and green, thorny sticks and twisted bare-black roots.
I stabbed the ground, stabbed the ground. I found soil in little pockets between the round-white stones. Little pockets of soil to bury the roots of the next generation, the roots of the white spruce and white spruce and white spruce and white spruce, between the roots of the twisted black stumps where the soil was eroding away.

The same twelve songs on repeat, and I started to fly. 
White spruce, another white spruce, and the album started over.
I walked out of my land around 4 pm, out onto the sandy-rocky path winding between the burns of Japan. The road was endless and grey and empty. The sky was bare and blue and also endless, also empty. One of my legs was buzzing in a strangely half-numb manner—endlessly buzzing, oddly empty of sensation. I straightened my back and walked, and the album started over.

Shouldered my gear and walked out. One step then another. One leg was buzzing. One ear was full of the same predictable sounds, and the other was empty like the sky and the road.

There was no one on the road. A kilometre or two before I ran into a few other planters, and they’d run of land, too. Konrad was nowhere to be found. We walked, together. We cattle-planted: we planted together, side-by-side.

Bend over, bend over, shovel in the ground. Seven planters in a row, seven shovels in the ground. Fourteen steps at a time, and again. Sun rolled across the empty sky. Seven shovels in the ground. The album started over.

We could see the van, once we’d made it far enough—once we’d made it close enough to the entrance of Japan. The van was perched up high, shiny flashing white and stationary, and it was stuck deep, deep in the sand—again. It was a tiny white glint on the horizon, across all those rolling red-green hills still unplanted, still charred and treeless with the soil slowly trickling away. Seven of us trickling slowly along. The sun slowly trickling down.

A deliverer arrived to tow the van out of the sand, the bumper ripped right off the front of the van.

Seven of us in a row, bending over, and the album started over.

One leg was buzzing—one hour and then another—a thousand white spruce, another thousand white spruce.

I hit my Personal Best, that day. Sure. The seven of us didn’t finish working until Japan was full of white spruce. The seven of us and Konrad, we made it home after 9 pm, with the front bumper lying on the floor of the van and the license plate perched on the dashboard. We rolled home to an emptying mess tent. Both ears finally empty of music, and full sporadically of dialogue. One leg, now, less numb. Feelings started to return: exhaustion and hunger and smiles and words. I went to sleep that night and when I woke up the leg was much less numb. Much less numb, and instead explosive.

So I broke the routine that day, after Japan. I didn’t roll home in the van with the license plate in the windshield, on Day 45. I went to the hospital instead. ≈ç

KRISTEL DERKOWSKI is has completed an architecture degree, is an artist, intrepid traveler, van lover and little bigshot in the tree planting world in Northern Ontario. She is currently working on her next book. When she isn't planting she lives in Toronto. 

 

 

On The Cusp of the Known World: A Field Guide & other poems

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ON THE CUSP OF THE KNOWN WORLD: A FIELD GUIDE

October mornings we wake to raspy buzz and jingle —
the Lesser Anglewing, Two-Spotted Tree Cricket,
Allard’s Ground Cricket, or is it? We stand on the deck
and press “play” again to hear a clear Midwestern voice
pronounce both names of a competing candidate
for this trilling in the grass: Say’s Trig, he intones,
Anaxipha exigua. When the effort to distinguish
overwhelms, we relish the names of our insect musicians:
the Slightly Musical Conehead, the Dog-day Cicada.

I feel we are on the cusp of something. A marriage
between cup and clasp. Two curves lean
into one another, stretch upward with a cautious
yearning, as if on tenterhooks, waiting

expectantly, with baited, but not bated breath, or maybe
just hung out to dry, the wet woolen smell
on the cusp between musky and rank.

The field guides agree it is hard to pin down

a goldenrod. We sort them into tribes by shape
plume-like, club-like, wand-like and elm-branched.
It can be hard to tell a wand from a club. Don’t forget
the flat-topped clusters. Asters, likewise, are tricky.
Leaves give clues: whorled, crooked, toothed or not,
grass-like, or perfoliate. In astonishing profusion
the tiny white asters are almost unknowable.

What are we on the verge of here?

It could just be me, stridulating,

hatching out of my skin of knowing, naming,
claiming; empty of easy kinship. Fall is

alive with the strangeness of yellow

flower, red berry, swift dark flying,

rattling upriver, not toeing the line

but towing it, pulling up stakes.

 

WATER WITCH

Bend two hangers into an L-shape. Forearms parallel to the ground, wrists relaxed,
          as Bess taught me. I wonder, can these wires detect
                              those watery sorrows, streams
rare to surface? When the rods cross, will I say yes, dig here,
          let this land gush memories, faithful or feral.
                              Summers we caught fireflies in jars,
shinned up the tree to eat mulberries, fell asleep in the hammock while Bess
          sat on the dusky porch & hummed softly, sipping
                              the hard cider we weren’t allowed to taste.

If I sulked or was sad, Bess would say, “You can talk about it
          or not—the tears flow just the same.”
                              She sent me out in the east field behind the thicket
of Osage Orange with her rods, saying, “Let’s see what you’ve got.”

Her own story seeped out during lessons: “Mark how they swing wide,
          then quiver, like a tender child on the verge of being able to hide
                              how much she hates the daily circuit
to check the traps, hates the hare’s glassy eye, its unasked why.”

She’d quell dread with the offer to find water.

          They called her witch, but trusted her to coax
                              a trickle at least, out of dry montane forests.
Going by scent, eyes shut to focus, she moved surefooted,
          toward the grey-green tang of algae-slicked flint

                              and shy bristle moss, that clings to rocks.

How mourning and mirth swim beneath earth’s bones.

          In dripping August heat I cross whispering fields
                              toward that flow, to find my level, pool up, sluice out.

 

SKIN OF STARS

Bring me onion skin, or vellum scraped

         with a lunarium for maps, transparencies, layers of almost
knowing, reflecting patterns of transport, arcane

                      and common, drawn as branching vessels, like a capillary
     network, or, dendrite-to-dendrite, inscribed on the land

                                      as song lines, fluvial and lacustrine landforms, signs
of the glacier in arête and cirque, of the sloped language of my home place in
          bluff and gully, knoll, defile, and draw.

For tonight I am dreaming of the infant
           human skull with its fine sutures—coronal, sagittal,
lamboidal—as if to follow the flyway home.

                      I dowse for truths in patterns of marine migration,
      read the routes of pelagic predators, tuck you in for the night

                                        with a lullaby of skins—fur, carapace, scales—
and seeds—whorled pods of wingstem, the feathery tetrahedrons

            of goldenrod that proudly persist through rain, wind, snow.

May I wake to continue dowsing as a tangle of filamentous fungi
           break down decaying matter and nourish soil, root, forest.
With the ink of love, of cuttlefish alarm, let us map

                          our undercurrents, write deltas fed by distant rivers, mark
      springs bubbling up from doubt and fear, overlay

                                            the crab nebula on a sunflower seedhead,
knowing we are one for all,
          running out, spilling over, flowing into and out of time.

 

 

 

AMELIA WILLIAMS answers THE WILD CULTURE SCRIBBER'S QUESTIONNAIRE

1  What is your first memory and what does it tell you about your life at that time and your life at this time?

One of my earliest memories is a dream in which I am a child in a white nightgown standing on the balcony of our house in Nigeria watching the jungle burn. I am unable to move or speak, and a malicious presence behind me is about to stick a needle in my eye – then I wake up. It has been a recurring dream and I’ve read it differently at different times, as about resilience, or the power the languages of children’s culture ('Cross my heart and hope to die / Stick a needle in my eye'). Today I might talk about this dream in terms of how the persona is both inside the landscape and observing it, frozen with fear, but also wakes herself up to avoid blindness, and finds her voice to recount the dream.

2  Can you name a handful of artists in your field, or other fields, who have influenced you — who come to mind immediately?

The poetry of W.B. Yeats, Wallace Stevens, Stevie Smith, Adrienne Rich, WS Merwin, Emily Wilson, Jodie Gladding, Brenda Hillman. Writers like A.A. Milne, Lewis Carroll, Jane Yolen, Jeanne DuPrau, Ursula LeGuin, Doris Lessing, Margaret Atwood, Mary Catherine Bateson. Mentorship from Catherine Hankla, and Thorpe Moeckel.

3  Where did you grow up, and did that place and your experience of it help form your sense about place and the environment in general?

I grew up overseas in many different landscapes, from Ibadan, to Cape Town, but spent five consecutive years in Istanbul. I spent a lot of time learning the wildflowers, butterflies, roaming freely with my brother from dawn to dusk catching frogs, climbing trees. Reading Gerald Durrell. There were fields and scrubby woods behind us, a crusader castle before us, and the Bosphorus below. We were on the outer edge of the city, bordering common grazing land used by villagers moving in from the rural areas, raising their own vegetables in little gardens. Our freedom to roam and explore was an incredible gift. I made a special place inside a big hazelnut bush for writing in my journal and drawing.

4  If you were going away on a very long journey and you could only take four books — one poetry, one fiction, one non-fiction, one literary criticism — what would they be?

The first three are easy: Golden Treasury of Verse (edited by Louis Untermeyer), which was my childhood awakening to poetry, Tinkers by Paul Harding, Braiding Sweetgrass by Robin Wall Kimmerer. As for the fourth, I haven’t read literary criticism per se in a long time, but will list Gary Snyder’s The Practice of the Wild and Joanna Macy’s Coming Back to Life as two more philosophical books that sustain me.

5  What was your most keen interest between the ages of 10 and 12?

Reading, and natural history.

6  At what point did you discover your ability with poetry?

I wrote poetry from the age of eight onward, and participated in editing college journals, but stopped writing during my PhD studies in literature. Once I started writing again in my late 30’s, I slowly realized this was something — along with mindfulness practice, and spending time outdoors — that I would pursue all my life.

7  Do you have an ‘engine’ that drives your artistic practice, and if so, can you comment on it?

I have a kind of three-stroke engine: being outdoors in nature, examining human relationships and how they work (or don’t), and mindfulness practices/dharma talks. Social justice issues and humor creep into my poems, but when I focus on these intentionally the engine sputters.

8  If you were to meet a person who seriously wants to do work in your field — someone who admires and resonates with the type of work you do, and they clearly have real talent — and they asked you for some general advice, what would that be?

There isn’t just one path. Whether you go the MFA route or not, finding a critique group and taking workshops with other writers who are serious about their pursuit is very helpful. Read a lot of poetry, learn to revise ruthlessly and be willing to let that process take a long time.

9  Do you have a current question or preoccupation that you could share with us?

A mentor asked me to think about dowsing in my poems — it seems to come up a lot. I am still thinking about that. Also, I notice the topic of journeys and pathways is like a thread running through my poems. I'm curious about how the rhythms of walking (or sauntering, trekking, hiking, meandering) may affect my writing. 

10  What does the term ‘wild culture’ mean to you?

The term “wild culture” suggests that it’s important to value and cultivate wildness, while recognizing that, since 'wildness’ is a cultural construct that has changed over time, our ways of conceiving it must continue to evolve, and we may need to re-define how we interact with wildness if we hope to save our planet.

11  If you would like to ask yourself a final question, what would it be?

I like the questions: 'How’s that working for you?' and “What are you going to do about it?”

 

 

AMELIA L. WILLIAMS is a poet, eco-artist, medical writer and climate change activist living in intentional community in the foothills of the Blue Ridge Mountains in rural Virginia. Her book Walking Wildwood Trail: Poems and Photographs, features a three-mile trail of eco-poetry art installations that celebrate the landscapes threatened by the proposed fracked-gas Atlantic Coast Pipeline. She received her doctorate in English Literature at the University of Virginia. Her work has appeared in Centrifugal Eye, Sow’s Ear Poetry Review, The Piedmont Virginian, 3Elements, and elsewhere.

 

 

Language, Nature and the Great Remembering

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A river runs through the Caledon Hills, hopefully for a long time. [o]

BELFOUNTAIN, ONTARIO— I had fun at my mum’s funeral. She was 94 when she died last July as the result of a fall. Known to her friends as Do or Dodie, she was a kook in all the best senses of the word, so we celebrated her craziness as we buried her in the cemetery next to the big old red-brick St. Cornelius Catholic Church. It’s perched up high on the First Line East, overlooking the massive humpbacked drumlin in the Forks of the Credit. Now both my mum and dad have one of the best views in all of Caledon, a beautiful rural area outside Toronto where I’ve lived for most of my life.

Soon the last of my mum’s long time friends who live nearby will die too. That will leave me and my generation to do the remembering.

When I refer to the Fifth Line or Five Sideroad, most people give me a blank stare. Their memories don’t date back to the time before Bob (I forget his last name) stripped the lines and sideroads of their numbers. He exchanged them for names that occasionally recognize the very speculators (let’s call them what they really are.) who have systematically been buying up Caledon’s prime agricultural land to reap the economic rewards that will follow their stripping the topsoil and dividing some of the finest farmland in Canada into postage-stamp-sized building lots.

I’m not sure whether he issued his projection as a warning or with a how-exciting-is-that! tone to his voice.

The ongoing transformation of my hometown makes me solastalgic, and I’m glad my mum is no longer around to witness to it. Solastalgia is a term coined by Glenn Albrecht, an Australian academic. He defines it as the distress that results when people are subject to environmental change in the place they currently call home. Albrecht makes the point that solastalgia differs from the more familiar “nostalgia,” which implies melancholy for where one used to live.

Not all of the changes that have taken place over the last half-century in Caledon are bad: I like meeting friends and enjoying a latte in Belfountain’s Higher Ground Coffee Co. or picking up a thin-crust pizza at Spirit Tree Estate Cidery. And it’s really nice that there’s a liquor store in Caledon East. My dad had to buy his spirits where he worked, about 50 kilometres away.

But I’m not deaf to the stream of commuter traffic that roars down our rural roads with no concept of sharing the space with pedestrians, equestrians, dogs or wildlife. I feel the relentless pressure of row upon row of cookie-cutter houses as subdivisions creep ever closer to Caledon’s rolling hills and forested river valleys. 

So what of Caledon’s future? Where are we headed? Is there relief in store for my solastalgia?

A fertile vision of suburban bliss includes essential lawn foods (1958). [o]  

Nick McDonald is the President of a planning company based not far from Caledon, though it’s unlikely he had set foot here before being hired to study the community’s population trends. At a town-hall meeting, he advised that because of rapid growth in the Greater Toronto Area, Caledon should prepare for a ten-fold increase in its population to 500,000 residents from its current 60,000. Since I was unable to attend the meeting, I’m not sure whether he issued his projection as a warning or with a how-exciting-is-that! tone to his voice. But I fear the cautionary addendum that capped off his pronouncement. He said, “We should keep in mind how much can be physically accommodated here [in Caledon].” I don’t think he was worried about having enough space for deer and foxes, fields, forests and open vistas such as the one my mum now enjoys. In other words, I doubt his concern was for nature. Maybe he’s never walked along a quiet country lane or spied white-tailed deer, ears twitching, in spring when the young buds on the maple trees give the forest a soft green hue. It’s possible that McDonald doesn’t know what a fen is, or that endangered Jefferson salamanders live in vernal ponds, or what binder twine is used for. And I’d bet he has no idea Winston Churchill Boulevard used to be the Sixth Line West where I grew up.

Consider his language: “We should keep in mind how much can be physically accommodated here.” McDonald makes it sound as if he’s referring to the square footage of a warehouse as opposed to the soaring cliffs of the Niagara Escarpment, the kames and kettles of the Oak Ridges Moraine, the flat agriculturally rich Peel Plain, and Caledon’s plethora of villages — a handful of which have not yet been flattened, widened, stripped of their trees and now need speed bumps to calm the unimpeded stream of commuters who live in or pass through Caledon en route to offices and factories in neighbouring urban areas, including Toronto. McDonald doesn’t ask “how many,” but “how much.” Does he mean how much humanity can we cram into Caledon before it overflows our borders and slithers into adjacent municipalities?

George Monbiot, the author of Heat, a best-selling book about climate change, disparages the state of our language about conservation. In his opinion, the word “environment” is especially problematic. Monbiot writes, “ ‘Environment’ is a term that creates no pictures in the mind.” For this reason, he prefers the more vivid “natural world” and “living-planet.” I concur with him and have long resisted calling myself an “environmentalist.” Personally, I like the term “natural landscape,” though I recognize that referring to myself as a “naturalist” may be misinterpreted.

"Forty percent of British youth used to play regularly in “wild places” — only 10 percent do so today." Intertwined roads by Hubert Blanz. [o]

Some argue the term “conservation” is problematic. The objective of “conservatism” is to conserve, to stick with the status quo, which is often not what people who revere a given natural landscape want. While the status quo in Caledon seems better then what’s in store, my goal runs more toward Robert Macfarlane’s definition of nostalgia. The author of the 2015 bestseller Landmarks, he takes the idea a step farther than Albrecht. Macfarlane says that if one is nostalgic, he or she “laments the prevailing state of things and agitates for change.” While I suffer from solastalgia, my longings for Caledon are shaped by nostalgia too. I lament chlorinated drinking water and agitate for more nature and fewer cul-de-sacs.

With publication of A Once and Future Land, the follow up to The 100-Mile Diet, J.B. MacKinnon has emerged as one of this country’s great nature writers. He dwells upon the need for memory if we are to protect nature. Harper’s Magazine quoted MacKinnon: “If you know that whales belong to Vancouver’s past, then it becomes possible to imagine their presence in the future. If you aren’t aware of that history, then the absence of whales will seem perfectly normal — natural, in fact.”

The word èit refers to “the practice of placing quartz stones in streams so that they sparkle in moonlight and thereby attract salmon to them in the late summer and autumn.”

And therein lies the risk in Caledon. With more than half the municipality’s population of 60,000 already living in places that look a lot like neighbouring Brampton, a sprawling, seemingly heartless urban area, our collective memory as well as our language is already tending toward suburban. Crescents and ubiquitous Tim Horton coffee shops “seem perfectly normal — natural, in fact” when “nature” consists of a dandelion-free, fenced-in bit of mown grass.

Children and youth whose main form of entertainment involves a cellphone may soon become part of a startling statistic regarding British children. Whereas, a generation ago, according to research undertaken for Natural England, 40 percent of British youth played regularly in “wild places,” only 10 percent do so today. And whereas 16 percent of children a generation ago preferred to play indoors, some 41 percent now opt for this alternative as a child’s bedroom is no longer where he or she is sent to be punished, but is, instead, an entertainment centre.

"I don’t think he was worried about having enough space for deer and foxes, fields, forests. . ." or reptiles who dwell there, like the Eastern newt. Photo by Tony Paine [o].

Couldn’t happen in Canada you say? Maybe not. After all, Canada abounds in wilderness. Our country comprises unbroken stretches of trees so vast they’d be impossible to imagine for the average Brit who seldom escapes Birmingham or Sheffield. In Canada, we have lakes and rivers and mountains as well as the longest coastline in the world, one-fifth of the world’s fresh water and wildlife that eat people. But the truth is that though Canadians may identify with this wilderness, they seldom walk in or explore it. Many admit to being afraid of nature. I wonder: How can you know Caledon if you have never explored the massive moss-covered limestone boulders adorned with rare walking ferns as you hike to the legendary Devil’s Pulpit, or if you have not looked out from atop the Oak Ridges Moraine as a red fox steals its cautious way over the hummocky terrain, or cooled your weary feet in the area’s Humber and Credit rivers?

In Landscapes, Macfarlane admires the Gaels for the localized and eloquent terms they use to describe their landscape. When given a copy of Some Lewis Moorland Terms: A Peat Glossary, Macfarlane learned of some 120 terms used specifically for the Lewis Moorland, including rionnach maoim, which means “the shadows cast on the moorland by clouds moving across the sky on a bright and windy day,” èit, which refers to “the practice of placing quartz stones in streams so that they sparkle in moonlight and thereby attract salmon to them in the late summer and autumn,” and teine biorach, which is “the flame or will-o’-the-wisp that runs on top of heather when the moor burns during the summer.”

English has a tough time competing with Gaelic for its poetic rhythm, but that shouldn’t stop us from developing our own versions of rionnach maoim, èit and teine biorach. After all, the Isle of Lewis is part of Scotland and “Caledon” is an endearing name from the northern wilds of the British Isle.

The Cheltenham Badlands are a distinctive feature of the Caledon Hills. [o]

How about “sapat,” which I suggest is the final drip of lightly yellow maple sap that freezes overnight at the end of a metal tap; or “releaf,” the act of removing the leaf through which a spring ephemeral flower such as a trout lily or bloodroot has grown such that its leaves are restricted and unable to unfurl; or “webtears,” the phenomenon seen on autumn mornings when the sun reflects the dew on the spider webs that have been woven overnight in a field of Queen Anne’s Lace or goldenrod; or “clisp,” the delicate layer of opaque, sometimes patterned ice that caps small potholes in your driveway after its been broken by the family car to expose open water that then freezes overnight.

In The Guardian, Macfarlane wrote, “The natural world becomes far more easily disposable if it is not imaginatively known, and a failure to include it in a literary regard can slide easily into a failure to include it in a moral regard.” This idea — that we need language and imagination and stories if we are to protect what we love — is expressed in more practical terms by the American farmer and essayist Wendell Berry. “To defend what we love,” he wrote, “we need a particularizing language, for we love what we particularly know.”

Creating our own glossary of terms — our own particularizing language — may not be enough to save Caledon from the combined forces that have resulted in my case of solastalgia. But it would be a start as my generation loses our parents and their memory of how things once were.≈ç

 

 

NICOLA ROSS is a biologist and author currently fulfilling her dream of being a literary adventure travel writer, while also publishing her series, Loops & Lattes Hiking Guides. She is the author of seven books; her articles have been published in, among many others, The Walrus, Globe and Mail, explore, Mountain Life.   www.nicolaross.ca

 

Seeing the world through animal eyes

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 ". . . desire to inhabit a nonhuman perspective may be more than a literary curiosity." [o] [o].



In his 1974 essay, philosopher Thomas Nagal asks the question, 'What is it like to be a bat?' He concludes that he can never know. He realises that even if he were to spend his days hanging upside down by his feet in the attic, chomping on insects at dusk and dawn, he would still only know what it was like for a human to behave as a bat behaves, not what it was like for a bat to be a bat.

I think that Nagal is probably right; we cannot enter fully into the experience of a nonhuman animal. None of us can know what it is to be a bat, a dog, a chicken, or a baboon. But does that mean we shouldn’t try?

We humans are empathetic by nature — and capable of extending our empathy beyond our species. This may be an instinctive empathy: we see an abused dog cowering before his bullying owner and we know something of the dog’s emotion in that moment. Such instinctive responses may be instructive, but they may also be prone to error. A more disciplined empathy is also possible. This would test the instinctive response against careful observation of other dogs’ behaviours, and research by canine psychologists, allowing for a surer grasp of the dog’s experience and a more authentic transposal to their perspective. 

Like the hawk, I felt the pull of the North. I shared the same strange yearning to be gone.

With a little practice it turns out that we are surprisingly adept at imagining our way into feather and fur, into the minds and bodies of nonhuman animals. Consider the example of J. A. Baker in his book, "The Peregrine". Baker spent ten years obsessively in pursuit of the peregrine falcon with the expressed intention of seeing the world through the hawk’s eyes. "I shut my eyes," he writes, "and tried to crystallise my will into the light-drenched prism of the hawk’s mind. Warm and firm-footed in the long grass smelling of the sun, I sank into the skin and blood and bones of the hawk. The branch became a branch to my feet, the sun on my eyelids was heavy and warm. Like the hawk… I felt the pull of the North, the mystery and fascination of the migrating gulls. I shared the same strange yearning to be gone."

We cannot know whether Baker’s portrayal of hawkness is accurate. Though we could try to replicate his experience, few of us are going to commit ten years to the attempt. However, Baker’s obsessive desire to inhabit a nonhuman perspective may be more than a literary curiosity. There may be great value in time spent in the practice of perspective-taking, particularly when extended beyond our species.

Earlier this month, scientists, experts and business leaders from all over the world gathered in London for the international ‘Livestock and Extinction’ conference. Bringing together experts in animal welfare, environment and conservation, the conference examined our species’ devastating impact upon the animal world, stemming from intensive animal farming.

"We are surprisingly adept at imagining our way into the minds and bodies of nonhuman animals." [o]

Our appetite for cheap meat has grown to become one of the most destructive forces on the planet. It is a leading cause of greenhouse gas emissions, and requires forests and wild habitats to be devastated to grow feed crops for the world’s 70 billion factory farmed animals. If we are to alleviate our impact upon the natural world then we collectively need to eat less meat, reorienting our relationship with the animals on our plate and those in the wild.

The disciplined empathy practiced by J. A. Baker may help with this reorientation. If we learned to adopt the perspective of a pig, would we be less inclined to consume factory farmed pork? If we spent more time empathising with the endangered pollinators in our midst, would we be more careful about the chemicals we dump on our crops? Perhaps if we took nonhuman points of view into consideration when deciding how to feed ourselves, organise our society, and interact with our natural environment, we might live in a world less fraught by ecological and social unrest; we might even live in a more compassionate world. 

This is the proposal of the Charter for Animal Compassion, which launches on 16th October, World Food Day. The Charter is a short declaration of the significance of empathy — understood as the art of perspective-taking — in an age of factory farming, animal suffering, wildlife destruction, and species extinctions. The Charter champions the science of animal sentience. It also calls on artists, writers, and researchers to collaborate in bringing animal perspectives to life.

The Charter is launching with a cast of impressive signatories. Among them are leading sentience researchers and animal welfare scientists, philosophers and poets, street artists and rappers, faith leaders and veterinarians, psychologists and conservation biologists. Signatories include Mark Rowlands, author of The Philosopher and the Wolf; wildlife photographer, Nick Brandt; philosopher Peter Singer, author of Animal Liberation; and Charles Foster, author of Being a Beast.



 "Reorienting our relationship with the animals on our plate and those in the wild . . . " [o]

The Charter will be working for the next twelve months to promote the artists and writers whose work engenders a more empathetic relationship with nonhuman animals — circulating interviews, artworks and research and, in general, broadening its network of supporters. The Charter seeks to map out the tensions and possibilities that arise when we learn to see the world through animal eyes.

We have perhaps never been more distanced from the animal world, never more detached from the realities of our food production, or its consequences for billions of wild and farmed animals. We have perhaps never been more in need of a shift in perspective that allows us to understand the world as a plurality of points of view, each unique and valuable.

 

The Charter for Animal Compassion

Animals are sentient beings. Mammals, birds, fish and many other creatures possess the ability to feel and perceive; they experience the world subjectively. The weight of evidence indicates that humans are not unique in possessing the neurological substrates that generate consciousness. As fellow participants in sentient and conscious life, animals experience fear and pain, excitement and joy. What happens to them matters to them. What happens to them should also matter to us.

Our interactions with animals often lack compassion. Compassion lies at the heart of moral behaviour, impelling us to alleviate suffering and treat others as we wish to be treated ourselves. Born of our deep interdependence, compassion calls on us to unseat our species from the centre of the world so that other species can flourish. It seeks the wellbeing of all creatures and respects the integrity of animal life. It is the heart of our humanity, the expression of an evolved empathy.

Empathy is the art of perspective taking, the ability to see through the eyes of another, to step imaginatively into their skin. Empathy takes us beyond ourselves. Through empathy we participate in experiences and feelings that are not our own. We understand the world as a plurality of points of view, prolific with different forms of intelligence. Empathy can carry us into feather and fur, into non-human minds, albeit imperfectly. Empathy makes possible the practice of animal compassion.

We call upon all people to act compassionately towards animals. In this age of habitat loss and wildlife destruction, as species slip into extinction and billions of sentient beings suffer in intensive farms, we urgently need to kindle a shared commitment to animal compassion. This begins by paying heed to animal perspectives in how we feed ourselves, organise our society, and interact with our natural environment. It begins with the belief that a more equitable world is possible.

We call upon artists and scientists to collaborate in bringing animal perspectives to life. As a society we find that we are alienated from animal points of view, stranded beyond an ‘empathy gap’. We struggle to understand the experiences and feelings of our mammalian, avian, reptilian, amphibian and aquatic kin. The science of animal sentience must be translated and carried into popular consciousness if it is to inspire compassion. We call on artists and writers to take up this challenge.

 

You are invited to join the movement for inter-species empathy by adding your name to become a signatory of the Charter for Animal Compassion.


 

 

ROB PERCIVAL is an activist and writer. He leads campaigns and advocacy on behalf of a UK environmental charity, and he is the founder of the Charter for Animal Compassion, a not-for-profit that advocates for inter-species empathy. He lives between Bristol and London.

 

[o]

 

Edward Abbey's 'No Comment'

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Down a hill in the chaparral near Ojai, California. 1

OJAI, CALIFORNIA— Edward Abbey, a briefly fashionable writer in the last quarter of the twentieth century and a grandmaster eco-warrior, knew which way the wind was blowing. But he was also an optimist in a grim sort of way, and in a 1979 letter to a friend he writes, “I believe that the military–industrial state will eventually collapse, possibly even in our lifetime, and that a majority of us (if prepared) will muddle through to a freer, more open, less crowded, green and spacious agrarian society.”

Didn’t happen: Abbey was dead at the age of 62 and in 1989 was laid to rest in a famously un-disclosed location in his beloved desert, marked with a gravestone incised with the epitaph, ‘No Comment’.

Drive up the 33 to the Rose Valley Summit, a gain of some 2500 feet, then a scenic dip down to the Rose Valley turn off and a few miles in from the Highway you will arrive at the Piedra Blanca Trailhead car park. Any half-way serious hiker will then immediately shuffle over the still bone-dry Sespe Creek and take a right on the trail where a ‘T’ junction presents itself on the other side. Our party of seven turned left.

Closer to the creek were black cottonwoods, willows and canyon live-oak, the roasted acorns of which will make a fine coffee substitute for those “muddling through” . . .

This takes you towards the white rocks, which offer pleasantly sculptural, sometimes zoomorphic and anthropomorphic shapes, and afford mildly kinetic experiences to those who clamber over their gritty sandstone surfaces. They are set in chaparral notable, at this slightly higher elevation than the Ojai valley, for the presence of manzanita, green-bark ceanothus, rabbit brush, chia, wild rose, salvia tridentata, California broom, and a few relictual pines. Absent was the frost-sensitive laurel sumac. Closer to the creek were black cottonwoods, willows and canyon live-oak (Quercus chrysolepis), the roasted acorns of which will make a fine coffee substitute for those “muddling through” after the great-unraveling confidently predicted by Abbey.

It being the weekend after Thanksgiving, the reason for this mildly aerobic excursion was the consumption of Turkey sandwiches – which was duly achieved once a reasonably flat and shady ledge had been found on the rocks protected from the cool breeze that blew through the formations from the west. Susan, our generous host, also provided Brazilian chocolate of varying degrees of cocoa intensity which she had brought directly from Bahia after a recent trip.

This was no existential confrontation with wilderness. We were barely out of the car for more than three hours, but there was, nevertheless, a slight frisson engendered by the remote valley location to the north of the Santa Ynez mountains (Ancient Bestiary) and a whispered awareness, best articulated, perhaps, by the susurration of wind over rock and through pines that come nightfall we lightly clothed day-trippers might not be well accommodated. But we were safely out of there by mid-afternoon and driven back to Ojai by our neighbor Margot (whose botanical commentary enlivened the walk). Those hikers who took the right turn, headed for the wilderness and the Sespe hot springs , were likely adequately prepared to spend a couple of days and a chilly night away from small-town Ojai, itself a satellite of the southern Californian coastal conurbation, or what Abbey would call an “over-crowded high-tech ghetto”.

Edward Abbey and his Ford pick-up. "One in a fight to the death with the other." 2

Abbey, simply put, was for wilderness and against civilization, or the culture of cities. He understood the one to be in a fight to the death with the other — and in his twentieth century and now our twenty-first there has never been any doubt about who is winning. He also clearly understood that a reversal of the victory of, in his terms, ‘Government and Greed’ over the ‘home of the wild things’ could only be achieved if, by natural attrition, lower birth-rates or disease, famine, wars or natural disasters, the population of the planet is much reduced.

Of American civilization he writes: “The whole grandiose structure is self-destructive: by enshrining the profit motive as our guiding ideal, we encourage the intensive and accelerating consumption of land, air, water — the natural world — on which the whole structure depends for its continued existence. …” His prescription? “Let us save…the American wilderness. About 50% would be a fair and reasonable compromise....it's time to start shoving cement and iron in the opposite direction before the entire nation, before the whole planet, becomes one steaming, stinking, over-crowded high-tech ghetto.”

The motive force in destroying much of the natural world and replacing it with urban development is capitalism and its credo of economic expansion, what Abbey identifies, more elementally, as greed. In his version of End Times, the wilderness is inherited by the ‘prepared’ — the Chosen who possess backwoods survival skills and an aptitude for homesteading. Blessed are those that turn right after crossing the Sespe.

This energizing bubble is not only refreshing the commercial face of Ojai, but also adding oxygen to the fires of industrial capitalism . . .    

As Marx indicated, capitalism is the culmination of a process which was initiated by the sequential development of agriculture, slavery and feudalism; where exploitation evolved from the resources of the individual, proceeded to the family group and then focused on the totality of the planet — as the source of assets to be stripped in pursuit of power and profits. Along the way, as Thomas Piketty suggests, the modern world’s prevailing economic system has become a remarkably successful device for enriching the few and immiserating the many. That the health of this system is measured by its growth leads inevitably to its comparison to cancer: sustainable growth is an oxymoron, and the infinite appetite of industrial capitalism feeding on the finite resources of the planet can only end in tears.

The new-wave of young(ish) entrepreneurs landing on the erstwhile old and dull (Blood Moon) retail, restaurant and lodging beachheads of Ojai practice a kind of Über-capitalism leveraged through their real and virtual networks of millennials and infused with values relevant to that cohort. This energizing bubble is not only refreshing the commercial face of Ojai — notably in areas away from the moribund Arcade — but also adding oxygen to the fires of industrial capitalism already ably stoked by the consumerism of the ravening, media saturated masses. To this extent, it is the same as ever it was (at least for the last few hundred years): a dynamic, generationally specific redefinition of consumption/style that forms the leading edge of the process by which the planet’s resources are turned into products.

Sustainable? Not so much. In California, the global economy almost arrived in 1565 when the Spanish began trading gold and silver from the Americas for goods and spices from Asia. Annual voyages of the Manila galleons would cross the Pacific and then track down the California coast en-route for Acapulco. But it was not until 1769, with the arrival of the Franciscan Friars overland, that the web of intensely regional indigenous economies that rarely traded beyond a few hundred miles, began to be displaced by a European culture that was enmeshed in a Christic Empire, where notions of domination, exploitation and profit-making emanated from an angry male god.

In southern California, cow-hides and tallow, oil, ‘health’ tourism, citrus, agriculture, movies and real estate describes the arc of business development from the mission period through the 1920’s. World War II brought aerospace and defense infrastructure; the 1950’s the development of world-class educational institutions, freeway construction, burgeoning suburban developments and their attendant services, theme parks and more tourism. These sectors were consolidated through the second half of the twentieth century and in the twenty-first, medical research, bio-engineering, automobile design, financial services, high-end retail and real estate development, media, entertainment, software and the hospitality industry have made southern California an essential component of the global, capitalist Empire.

To the north and east of Ojai there is wilderness that stretches hundreds of miles: the town is jewel-like, but it remains, despite its locavore, organic and sustainable efforts, fully dependent on the ‘grandiose structure’ of industrial capitalism. It remains a tiny, verdant Principality in an Empire ruled by the great god Mammon.

He notes: "Sentiment without action is the ruin of the soul".     

Abbey always privileged action over words, he notes: “Sentiment without action is the ruin of the soul”. Our goal should not only be the righteous transformation of Ojai, where our successes will be mostly and deviously coopted by the prevailing economic ethos, but the mortal wounding of this vaporous numerical chimera that enfolds us into systems of exploitation and immiseration and that feeds on the destruction of the natural world.

“Beyond the wall of the unreal city”, he writes, “is another world of deserts, mountains, forests and plains”. In Ojai, that other world is the chaparral wilderness, where we, for the sake of our souls, might ponder such an assault. ≈©

 

MORE ABOUT EDWARD ABBEY

AbbeyWeb.net

Abbey's Web

Edward Abbey: A Voice in the Wilderness

Edward Abbey Matters

Friends of the Canyon Country Zephyr

Southern Utah Wilderness Alliance

Buy Edward Abbey books from Ken Sanders Rare Books

 

This article first appeared in The Journal of Wild Culture on December 16, 2014.

 

 

 

 

JOHN DAVIS is a California-based architect "living on too many acres of chaparral in Upper Ojai." He writes a blog, Urban Wildland, where he says his writing "is a way of resolving the values it represents; a single voice, yes, but one that is, I hope, always evolving." Indeed it is.  

 

 

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PHOTO CREDITS

1. Cover and top photo: chaparral around Ojai, California.

2. Edward Abbey gravestone.

3. Edward Abbey and his Ford.

4. 'Golden: Westward the star of empire takes its way.'

5. Biome diagram.

 

Encore Plus Tard: Agawa and the Artist

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The northern temperate forest gives way to the trees of the boreal forest.

In Northern Ontario the landscape can seem like the left over wreckage of one pre-historic cataclysm after another. Comet impacts, mountain and cliff forming movements of earth, thousands of years of crushing and scraping glaciation, and torrential flooding events when those ice sheets melted, have formed an environment at once brutal and comforting.

The Algoma Central Railway (ACR) rocks and lurches through one such tract of land that is just about as close to wilderness as this planet gets anymore. It leaves Sault Ste. Marie on the St. Mary’s River, between Lake Huron and Lake Superior, and heads north by northwest to Agawa Bay on Superior, the largest of the Great Lakes.

Agawa Bay is one of those places that reliably emanates a heightened reality. Like many areas on Superior, it seems to possess a consciousness of its own, a genius loci. Birds can behave fearlessly there, walking down paths in front of you like temple monkeys, dancing in front of you and displaying their fanned tails like miniature peacocks.

The Agawa River mouth, where it quietly flows into the lake, gives little hint of its tumultuous course. A few kilometers away, on rock faces coming right out of the bay, are red petroglyphs that have not been washed off by centuries of waves, sun and winter weather. A horned creature with a dragon-like back and tail seems to be the very spirit of Gitchigoomie, the name of the lake in the Chippewa language.

Agawa River.

The train turns away from the bay and heads up towards the Agawa Canyon on its 296 mile trek to Hearst, Ontario. The canyon is the last refuge of the colourfully deciduous sugar maple. This is the northern edge of the northeastern temperate forest. At its southern edge in the Carolinas and Northern Florida it grows yellow pine, tulip poplar and gum trees. Up here it grows not only sugar maples but white and red pine, jack pine and black oak mixed in with increasing amounts of paper birch, poplar and black spruce.

At the end of line, Hearst is well into the boreal forest, and little notion of the south remains. It is too cold for all pines except some scrawny jack pines, but trembling aspen, poplars, black spruce, balsam fir and tamarack still thrive. Beavers and their dams can be seen everywhere and in the late spring and summer an infinity of insects cloud the air. Small songbirds come from as far away as South America to lay their eggs here and feast on the mosquitoes and black flies.

There would be no more landscape paintings from this country that aped Constable or Corot.

The railroad was finished in 1914 to bring lumber and ore down to the “Soo”, and Sault Ste. Marie still has steel mills and pulp and paper mills that almost miraculously have not relocated to China or Brazil. Right from the beginning the train was also used by people wanting to experience wilderness, and by painters, specifically the Group of Seven, wanting to capture the wild, northern landscape.

The post-impressionist landscape paintings of those artists and the canvases of others at the time, especially Tom Thompson, who died young in 1917, have had a lasting impact on the central Canadian psyche. From this time forward there would be no more landscape paintings from this country that aped Constable or Corot.

Montreal River, scene of The Solemn Land, by J.E.H.MacDonald.

Vibrant colour was now the Canadian birthright and all terrain less than a day’s drive from the populous south would become “cottage country.” Georgian Bay, Muskoka, Haliburton and Kawartha would be the summer places for any child of means, thanks, at least partly, to these painters. Reproductions of their paintings were hung in libraries and high school hallways. They were printed on textbooks, calendars and day planners.

By the late 50’s and 60’s a new generation of artists born at the height of the Northern Landscape craze were set to take over. They viewed all these pine trees very skeptically. They went to live in New York and were witness to Jasper Johns and Jackson Pollock. When and if they returned they were not about to take the Algoma Central Railway, and, if they did, certainly not about to take oil paints or brushes.

Among these was Michael Snow who, with his wife, the painter Joyce Wieland, did return to Toronto in the early 70’s. Snow’s “Walking Woman” works were pop-inspired images that he repeated and reworked over and over. He also made films and photographs and exhibited work at the Venice Biennale, Documenta and the Centre Pompidou. Perhaps his most popular piece is a sculpture of a flock of geese that have been unsuccessfully trying to fly out of the Eaton’s Centre, an indoor shopping mall in downtown Toronto, ever since it was built.

At mile 207 it says, “Height of Land – All water from this point northward now flows into James or Hudson Bay far to the north.”

In 1977, Snow produced an exhibition of photographs taken in the Group of Seven room at the National Gallery in Ottawa. This was the old National Gallery. It was a converted office building and the dreary, dysfunctional product of a committee of stymied and tortured imaginations.

Snow made all the photographs blurry. He said he wanted to make the paint fluid again and blend the colours together. He had originally wanted to do this in the Matisse room of the Museum of Modern Art in New York, but ended up doing it in Ottawa. Perhaps because of Matisse and the fact that it was first exhibited in France, he called it “Plus Tard.”

It may be too that his intentions were more subconscious and Oedipal. It’s all fine and good to want to blur paint, that long ago dried, but it’s hard not to see a new generation taking the piss out of an older one. For someone born in 1929, these painting had been the altar of high art in this country forever. For a nation whose intelligentsia were constantly trying to come to terms with a collective self-identity, these had finally become real home-grown art. By the ‘70s they were also low hanging fruit for multi-media artists.

Riding on the platform between the passenger and the baggage car on the ACR this September, I unexpectedly found myself thinking about “Plus Tard.” Even though the train only gets up to speeds of about 35 mph (everything on this trip is in miles), the scenery seems to flash by.

Plus Tard, By Michael Snow. From 'The Solemn Land.'

 

You are given a modest information sheet when you buy your ticket that explains what you will be seeing at various mileposts. If you are looking at it instead of the scenery you will be told, “View at right of Mileage 84 into Batchewana River Valley.” At mile 207 it says, “Height of Land – All water from this point northward now flows into James or Hudson Bay far to the north.”

To take advantage of all the photographic opportunities, it is necessary to ride on the platform between the passenger and the baggage car. There is a sign prohibiting this but luckily it is not enforced and no one seems to mind you holding yourself out as far from the train as you can, intently staring through the viewfinder of your camera.

But the speed of the car still makes most of the pictures blurry in the foreground. Digital cameras are also confused by the movement of the train, not sure what light level to adjust to, or what to focus on. As a result most of my pictures were as experimental looking Michael Snow’s 1977 exhibition. Then I got thinking that maybe Snow had been on that train and that he was simply trying to give the same effect in the exhibition gallery. Or, I thought that maybe he had subconsciously picked up on all those generations that had boarded the train and experienced not only blurred photographs but a blurred visual memory of that terrain. Capturing movement was not something the Group of Seven tried with their painting, but they must have marveled at the rush of scenery at 35 mph back in 1916. I certainly did 97 years later. ≈©

Plus Tard, by Michael Snow. From 'West Wind" by Tom Thompson.

 

This article was first published in The Journal of Wild Culture, Dec. 6, 2013. 

 

 

GENE THRENDYLE is a professional gardener who has been planning, building and maintaining private and public gardens in Toronto for overr 2 decades. He was a participant, consultant and in charge of maintaining the Artists’ Gardens at Harbourfront from 1998-2008. Gene is also an artist and has exhibited work and been involved in the arts in Toronto for over 20 years. http://genedigs.com

Photographs by Gene Threndyle, ©2013

Agawa Bay, north shore of Lake Superior, late September, 2013.

 


Gazing in and out to Sea: 5 poems

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DRYLANDS     by Yahia Lababidi

 

Tell me, have you found a sea

deep enough to swim in

deep enough to drown in

 

waters to engage you

distract you, keep you

from crossing to the other shore?

 

 

 

CHALK     by Matthew Clegg

 

i.

Chalk cliffs are wax-white and gull-white;

sluiced and soiled with thickening mudslides;

packed and shattering calcium strata;

micro-strata within macro-strata;

sunken alcoves and brittle balconies;

trauma-warped and trauma-fractured;

rich in crevices mortared and pasted;

chalk-bleached grasses stitching the crack-face.

Under the ramparts pebbles and obols,

treasure-troves spilling bi-valves and bird-skulls;

slick as sealskin when the sea licks them;

wash and backwash rolling and tonguing;

grinding and sucking them down to slivers;

breaking and spitting its broken teeth.

 

ii.

Remember how I brought you the chalkstone;

no smooth oval prize laid by the sea-goose;

no worry-ball cool in the palm and blue-tinted;

a mangled discus cavity-infested;

holed like a cheese or a salt-brittle pumice;

brown-stained a little and smelling of sea-rot;

cavitied cavities mazes in mazes;

where whiskery sea-lice furbish their hovels;

a heart-stone a brain-stone pitted with losses;

clogged with near indigestible flotsam;

iodine treated inside the chambers;

pick it up now and shake up its history;

its shanty of sand and broken shell-shards,

choking and rattling inside its lung.

 

iii.

Let me cast you as a tall thin chalk-stack;

white sea-cavalry charging your buttress;

gnawing and thinning the brittle foundation;

cut off but in sight from the crumbling mainland.

One of those ruins infested with gull-kind

making a bedlam of airspace above it

where angels and harpies jostle for place.

I’ll cast myself as a marginal chalk-pool;

slippery weed-slime around my portal;

stones of these words gargling inside it;

each one rubbing the grain of the other.

A near empty socket a terrible bodhrăn;

stretched under churn of gravelly breakers;

still and mute when the swell falls back.

 

Beachy Head, East Sussex 1

 

FLOAT   by Lynne Rees

 

You come across them

sucking the wet sand

or tangled in weed,

laces and heels missing, yawning

gaps between uppers and soles

and you line them up — espadrille,

trainer, a child’s red Wellington —

toes pointing out to sea, watch them rise

on the incoming tide, your fleet

of little boats setting out

on a big adventure, imagine

some of them finding it – their lost twin

nudging the crest of a wave, or washed up

in a place they never dreamt of.

Though most of them won’t —

they’ll sink, be tossed back to shore.

But what a sight, this flotilla

of leather, plastic and rope

dipping and rising

on the swell and roll. And why

don’t you take off one of your own

 

and hurl it over the breaking waves?

 

 

THE SEA    by R. S. Thomas

 

They wash their hands in it.

The salt turns to soap

In their hands. Wearing it

At their wrists, they make bracelets

Of it ; it runs in beads

On their jackets. A child's

Plaything ? It has hard whips

That it cracks, and knuckles

To pummel you. It scrubs

And scours ; it chews rocks

To sand ; its embraces

Leave you without breath. Mostly

It is stomach, where bones,

Wrecks, continents are digested.

 

Dead sea with ssalt deposits. 2

 

EVENT HORIZON    by Andrew Greig

 

And we ourselves

    freed slaves, bound gods

        unmade men, rulers of little craft

            servants of the horizon.

 

— that is to say, sailors —

 

happily or fearfully think of our lives

                 going forward and clockwise

when we are pulled sideways and widdershins

by forces so pervasive

we don’t even see them.

 

Still bend we must

    over chart, compass, protractor

        and hazard our best guess.

 

Flick of sail, bird on the horizon.

Hold to that? No, adjust,

adjust.

 

 

First published in The Journal of Wild Culture, January 22, 2015.

 

 

 

YAHIA LABABIDI is an Egyptian-American poet and author of six books in several genres. His writing has been translated into several languages and he has been featured on NPR, Al Jazeera, The Guardian and has participated in international poetry festivals throughout the USA, Eastern Europe as well as the Middle East. His forthcoming book, Balancing Acts: Collected Poems (1993-2014) will be published by Press 53 Silver Concho Poetry Series.

MATTHEW CLEGG is a poet living in Mexborough, South Yorkshire. He currently teaches creative writing at Derby University, Sheffield University Institute of Lifelong Learning, and The Open College of Arts. His first full collection of poems was West North East (Longbarrow Press, 2013). A new collection, The Navigators, will be published in 2015 by Longbarrow Press.

LYNNE REES is a novelist, poet, editor and blogger, Lynne Rees was born and grew up in South Wales, UK. Her most recent books are Real Port Talbot (Seren 2013) and forgiving the rain (Snapshot Press 2012). A book for writers, compiled from the last four years of blog — the hungry writer— is forthcoming from Cultured Llama in Autumn 2015. 'Float' is from Learning How to Fall, Parthian Books, 2005.

R. S. THOMASRonald Stuart Thomas (1913—2000), published as R. S. Thomas, was a Welsh poet and Anglican priest who was noted for his nationalism, spirituality and deep dislike of the anglicisation of Wales. Welsh academic M. Wynn Thomas said: "He was the Aleksandr Solzhenitsyn of Wales because he was such a troubler of the Welsh conscience." Thanks to Emyr Young for suggesting this poem.

ANDREW GREIG is a Scottish writer who grew up in Anstruther, Fife. He studied philosophy at the University of Edinburgh and is a former Glasgow University Writing Fellow and Scottish Arts Council Scottish/Canadian Exchange Fellow. He lives in Orkney and Edinburgh. Thanks to Kieron Bacon of Lines of Landscape for this suggestion, which is taken from Found at Sea, published by Polygon.

 

* Thanks to Amy Liptrot for asking the question on Twitter — "What are your favourite poems about the sea?"— that got the wave rolling. 

 

The next subject in our series on geo-poems: the desert. Please send them in to journal [AT] wildculture.com

 

Quiet sea at dusk. 3

 

The Courage to start the possibly impossible

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I’d started this stage of the race at 2pm and by 6 it was pitch black. My head torch was my only source of light guiding me across the dunes. Day five of the 165km self-sustained Oman Desert Marathon, 26km into the 42km night stage. I’d been passed by every other runner and my feet were in excruciating pain. I stopped, slumped down on a small sand dune and started thinking of excuses. A way of telling my friends and wife and children that I’d done my best but come up short.

Six days earlier I had left Hong Kong with my running partner Steve and flown to Bangkok, then switched planes to Muscat. The trip was uneventful except for an annoyingly constant knot in my stomach. Apprehension. On paper I knew what lay ahead, however I also knew the reality is always a little different. I’d packed and repacked my RaidLight 20L backpack ten times the night before, it was bursting at the seams. This was my first multi stage endurance race and I knew none of the tricks of the trade when it comes to packing.

The doctor advised that if I ever felt that way again I would need intravenous fluids.

The race started 45 minutes south of Nizwa with rather a lot of pomp and ceremony, since stage one coincided with Oman National Day which recognized Oman independence from Portugal in 1650. After this relatively easy stage we were transferred by coach and then 4-wheel drive into the desert, a drive of 200km, for our first camp. From this day forward we camped where we finished the day’s run as we made a beeline to the coast and the Arabian sea.


We quickly settled into the life of a multistage race. Eat, sleep, run with the occasional wash where we could. Talk became very much about caloric intake, how horrible the food was, blisters, and the varying consistencies of sand.

Six days food, sleeping bag, mat, salt, energy bars, cooker, survival kit and 3 packs Marlboro Lights.

One thing that became immediately obvious was that there were some very good runners in this race: in total, 101 total participants, including Mohammed Almorabity from Morocco, and Natalia Sedykh running out of Dubai for Adidas Running Moscow, and female winner of the 2016 Marathon Des Sables in the Morrocan Sahara. It took me very little time to work out that the race I was running would be against myself. The leaderboard didn’t matter and finishing the challenge was going to be my own personal battle.

Things started to hot up on day four. The stage was entitled “The Virgin Dunes” and it certainly delivered: 28km of beautiful dunes that punished my legs beyond belief on an extremely hot day.

Experiencing a feeling for the first time where I felt incredibly nauseous, to the extent I couldn’t drink water, I was also acutely aware I was dehydrated and needed to take on water. This feeling accompanied me for the last 5km of the stage and made crossing the finish line of the stage — and dousing myself in water in the shade of a truck — a very welcome relief.

 

Mr. Wright standing on his chosen medium. "Wouldn't firm turf be nice about now . . ."

On the positive side, stage five didn’t start until 2pm the next day, giving me 24 hours to rest and recover as best I could. Speaking to the doctor during some down time that evening she advised that if I ever felt that way again I would need intravenous fluids, and, potentially need to withdraw from the race.

Whilst sleep was always a little disturbed — to be expected when you’re sharing an open fronted tent in the middle of the desert with 9 other people – the next morning was relatively relaxing. The slowest runners were to start at 2pm, the next group at 3pm and the elite runners at 4pm. I’d never covered the distance of a marathon before, so I was apprehensive; other mitigating factors included that the desert went pitch black at 6pm and the race was starting to take its toll on my body, which meant I knew I was in for a tough day/night.

Stop, get water, get food, get sleep, get up, go!

On the other stages everyone had started together. I saw the runners ahead of me and then they disappeared into the distance. With these staggered start times the faster runners caught up and overtook me. For a brief moment when I was along side them I saw and felt their speed and power intimately.

As darkness fell I enjoyed a moment of the novelty of running along with my head torch on, yet soon a combination of factors caused me to stop, sit down and work out how to exit the race in the most graceful way possible. Whilst the leaderboard shouldn’t matter, the two runners I was ahead of on the leaderboard were now ahead of me. The pain on the sole of my right foot was like driving a rusty nail in with every step. I was hungry and tired. I was really suffering.

The least of it . . .

It was at that moment, sitting on my own in the the darkness of the Oman desert that I had an epiphany of sorts. Not a grand one to do with my place in the universe — what it takes to overcome adversity or anything like it. What I realised was that sitting there feeling sorry for myself was getting me nowhere, literally. If I stood up and started moving, every painful step would move me closer to my destination. While it seemed pretty obvious I was in a bit of a state, I thought, “Okay, cut yourself a little slack.”

I pulled myself together, stood up and started moving. I made it to the finish line of this stage, the second last, at 1:45am, actually overtaking a few runners getting there. I was too tired to find my tent. I slept on the floor of the blister treatment tent in the middle of the camp. I made a cold “hot” chocolate to try and get some calories into my body. I fell asleep around 2:30am after having two sips of the ghastly drink. With the final stage starting at 7am the next morning I got up 3 1/2 hours later and went again.

I kept on going and did not stop, crossing the finish line 95th out of the 101 starters (5 did not finish). Even as I write this a week after I finished I’m not totally sure how I got through the last stage, #6: 23km of high, soft sand dunes. One active runner finished behind me. My time was 45 hours and 27 mins during the 6 stages. Putting that in context, the winner clocked 13 hours, 56 mins. Steve finished 52nd with an amazing time of 26 hours, 54 mins.

I will forever be grateful to my partner in crime, Steve Williamson, who went above and beyond helping me through this experience. At the end of our week in the desert we enjoyed one of the greatest beers in history.

If I learned anything it was the simple affirmation that you can overcome adversity and achieve things that you and others might not have thought possible. Believe in yourself and surround yourself with positive people. As the author John Bingham said, “The miracle isn’t that I finished. The miracle is that I had the courage to start.”
Whether in your professional or personal life, the important thing is to start. See you on the next one.

 

Read Part 1 of this series: 'Three reasons why I’m running across a desert'

 

 

JONNY WRIGHT is the Global Managing Director of Dow Jones, Director of News. Previously he was Circulation Director in Europe for The Wall Street Journal. He lives in Hong Kong and looks for whatever cycle challenge is on offer.
 

Why not give it a try?

 

'Prayer Does Not Have To'& other poems

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PRAYER DOES NOT HAVE TO

whisper with reverence while clouds
               thicken to purple in the sky.

It can percolate, chortle and climb
               like Coltrane’s horn in “A Love Supreme,”

probing in fits and squawks, clearing
               a path upwards, then knocking over

all stones, until there is no right
               of way, no safe passage, nothing

but tympani and bass drowning
               all hope in distance. I’ve been

in that room where it’s clear
               the storm is on its way, where light

diminishes its chord until harmonies
               fall off each other, breathless.

Let the thunder have its say. Open a door
               to the sizzling wind. Trust

the score to give each note space,
               each need voice, until the whole room

vibrates in half tones, raises itself
               into the sky. This loud song

can find a stable key. This kind of noise
               can beg light down with a cymbal’s roll.

 

REVENANT

On the Pass at Manchac
a camp has toppled from its pilings.
Its porch frowns down into the lake.

My son studies weather patterns
for class. His book claims
the wind circulating around us
is the same wind that stirred the sand
around Giza while men were building
pyramids, that swayed the lilies
of the valley and filled sails toward Vinland.

I imagine God sighing into clay
to give it life. Years later that breath
swirls into a storm off Africa,
dances for weeks across the Atlantic
into the Gulf and onto our shore
to nudge a camp off its perch
on the Point, the one place
my mother loved on her drive
back home, always rolling her window down

to feel a breeze in her hair.

 

SPACE, NOT TIME

All semester I’ve pushed my students
toward space, into the inviting             white
the page offers.
                       Still, they trap themselves
in bunches along the back wall of the room,

bind the lines of their poems to the left margin
where their words can sleep in the security
of the flock. 
                     There’ve been moments
when I’ve c-o-a-x-e-d them to the bow of the ship,
gotten them to look off into  the
                                      periplum
that lies between where we are             and the horizon,
but never, like WHITMAN, have they hung their heads

           over the edge to see how their reflections

shimmer in the waves
                                stretching out
every direction from the path they cut in the water.

Human nature draws them back to the safety
the pack affords, urges them to horde
their words in a single pile, storing them
for a winter that may never come.
                                          I’m running out
of time to show them the nature of this class,
of this place, is to turn them loose into            space.

When the last bell rings, they’ll have to leave
through the door alone,
                            out  into the white light
where all life springs from the
                                   [isolate]
                                              word.

 

PROCHE

The old people say spirits of our kin
linger in the marsh as blue heron.

They can move only in sunlight.

To fly, they must dry their wings,
spreading them into the wind.

When enough days have passed
through their feathers,

they can pull themselves
into the air, bones
light and hollow with grace.

Sometimes they can circle near
the places they once loved.

If they find the eyes
of loved ones, though,

their bodies turn to mist,
swell into night sky
like the first moon.

 

 

 

 

JACK B. BELDELL FILL OUT THE WILD CULTURE SCRIBBLER'S QUESTIONNAIRE
 


1   What is your first memory and what does it tell you about your life at that time and your life at this time?

I have a really physical memory of walking unsteadily, reaching above my head to hold on to my father’s thumb. This memory makes an embarrassingly easy metaphor for my whole life.

2   Can you name a handful of artists in your field, or other fields, who have influenced you — who come to mind immediately?

I owe an incredible debt to the work of James Dickey, Jim Whitehead, Miller Williams, Heather Ross Miller, Steve Gadd, P.J. Harvey, John Coltrane, and (more recently) Joe Wilkins.

3   Where did you grow up, and did that place and your experience of it help form your sense about place and the environment in general?

I grew up in the Atchafalaya Basin of southeast Louisiana. I do as much as I can in my work to honor the place, its people, and its heritage. I can’t see myself outside the Acadian culture that produced me, and my poems are a chance to archive my appreciation for that culture.

4   If you were going away on a very long journey and you could only take four books — one poetry, one fiction, one non-fiction, one literary criticism — what would they be?

I’d probably pack all poetry, but for the sake of the exercise: James Dickey’s Poems, 1957-1967, William Faulkner’s The Sound and the Fury, Joseph Campbell’s The Hero with a Thousand Faces, and Gaston Bachelard’s Poetics of Space (untranslated so I could struggle with my French!).

5   What was your most keen interest between the ages of 10 and 12?

Marine biology. I worked at Port Fourchon on the Louisiana coast during the summers of those years helping with a grant to investigate the effects of offshore drilling on puffer fish population.

6   At what point did you discover your ability with poetry?

Before I entered graduate school in English/creative writing, I had only written a few imitation William Blake poems. One of my professors loaned me a copy of R.S. Gwynn’s The Drive-In, and the book really opened a world of contemporary narrative poetry to me. I started writing poems as soon as I finished Gwynn’s book and haven’t stopped since.

7   Do you have an ‘engine’ that drives your artistic practice, and if so, can you comment on it?

Editing a journal, Louisiana Literature, these past 25 years, has really fueled my own writing. Every day I encounter poems I wish I had written, and that aggravates my competitive nature enough to put me to work.

8   If you were to meet a person who seriously wants to do work in your field — someone who admires and resonates with the type of work you do, and they clearly have real talent — and they asked you for some general advice, what would that be?

Find a community of working writers. Their productivity, their energy, will fuel your own. In my case, working in sessions with writing partners has really held me accountable as a writer. There’s no putting off the work when someone you value is putting it in right next to you. Reading can fuel you as a writer, but there’s nothing better for your development as an artist than constant, hard work.

9   Do you have a current question or preoccupation that you could share with us?

Of late, my work has hovered around a tough question for me: How do we live and flourish after great loss?

10   What does the term ‘wild culture’ mean to you?

'Wild culture' exists on the fringe of what we can control in our lives. Forging a healthy relationship with this fringe is what gives life quality for me.

11   If you would like to ask yourself a final question, what would it be?

I would ask, What’s next?
 

 

 

 

JACK B. BEDELL is Professor of English and Coordinator of Creative Writing at Southeastern Louisiana University, where he also edits Louisiana Literature and directs the Louisiana Literature Press. His latest collections are Elliptic (Yellow Flag Press, 2016), Revenant (Blue Horse Press, 2016), and Bone-Hollow, True: New & Selected Poems (Texas Review Press, 2013). He has recently been appointed by Governor John Bel Edwards to serve as Louisiana Poet Laureate 2017-2019.

'Prayer Does Not Have To' was first published online in L'Éphémère Review

Photo credits: John Coltrane, Storm Coming In, Untethered Astronaut, Blue Heron.

Gossamer Days: Spiders, humans and their threads

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It is September and I’m walking through a clearing in a sandy forest looking for a particular spider. This is Folly Island, South Carolina. With a golf course at one end and a nature reserve at the other, Folly is a marshy sandbar slowly disappearing into the Atlantic Ocean. It is periodically rebuilt with dark sand pumped up from the depths of the sea and deposited along its shoreline. At 6 am this morning I left the nearby city of Charleston and drove south along a single track, across the wooden bridge that joins Folly to the mainland, and for the past two hours I have been walking through the small patches of remaining forest — palms, sand, dead trees, bushes of berries I don’t recognise, and darting lizards. I feel the panic of the spider hunter — not the fear of seeing spiders but the fear of missing them, of being too late in the season. Busy searching the bushes, and flapping away the mosquitoes, I am brought to a halt by what feels like a net pressed against my head. Looking up, my face is inches from a female Nephila clavipes, my hair entangled in the giant golden web she has spun across the path.

. . . And feeding on the prey she captures and even mating with her without her seeming to respond or notice.           

In the clear morning light this spider is dazzling. The palm trees of Folly are not just green, they are glowing, in a pact with the sunlight — and the golden yellow silk of the Nephila dances between them. She sits in the centre of the web, and is so large that she must spin extra guy-ropes of threads behind the web to support her weight. Her body is long, thin and almost rectangular, light grey with a patterned yellow stripe down the centre. Her legs are striped dark red and black, with tufts of hair. She is about the size of my hand. She does not scurry, but moves slowly and deliberately. Carefully feeling, she stretches her fine front legs out before her and places them down on my skin.

Hanging in the corner of her web is a male. Like most other species of spider, the females are larger than the males, but in the case of the Nephila the size discrepancy is remarkable. The males are about a tenth of the size of the female, so that one or more might live on her web at any one time, feeding on the prey she captures and even mating with her without her seeming to respond or notice. I am here on Folly Island to make a ring from her silk.

Nephila clavipes.

Folly Island was once more forest than it was beach. This changed when it became a key stronghold of the Union army during the American Civil War, from where they could attack the Confederate base of Charleston. In their letters home, the Union soldiers described the awful heat of summer on Folly and the sickness and biting insects that flourished in its marshes. More died of disease than combat, and many suffered from boredom and homesickness. One soldier from Connecticut wrote ‘the white sand, the monotonous moan of the surf at high and low tide, and the lifeless appearance of tree and shrub, all contribute to fill the mind of the soldier with despondence and gloom’. Soldiers passed the days of waiting on Folly by collecting shells on the beach, ‘Day after day, at low tide, the whole beach, as far as eye could reach up and down, would be covered with men toiling as diligently . . . as if they were gathering diamonds’.

Two soldiers, however, found a different way of passing the time. Dr Burt Green Wilder and Lieutenant Sigourney Wales were officers of the 55th Massachusetts regiment sent to Folly Island in 1863. Wilder was the regiment’s assistant surgeon with a passion for zoology and comparative anatomy. The days between battles were his opportunity to explore the plants and creatures of Folly Island, many of which were unknown to him.

It was on one of his meandering walks that he discovered a huge spider sitting in the centre of a golden web that stretched ten feet between the trees. Wilder collected the spider and put it in his hat to carry back to the camp, and he held the hat in his teeth so that both his hands were free — one to break down the webs stretching across his path, the other to ward off mosquitoes. He made his way waist deep across the swamps, an unpleasant trip: ‘What with the extreme heat and my previous fatigue, and the dread lest my captive should escape and revenge herself upon my face while I was avoiding the nets of her friends, and the relentless attacks of their smaller but more venomous associates, it was the most uncomfortable walk imaginable’.

He returned to his tent in the camp and took the spider in his hands: ‘The insect was very quiet, and did not attempt to escape; but presently, after crawling slowly along my sleeve, she let herself down to the floor, taking first the precaution, after the prudent fashion of most spiders, to attach to the point she left a silken line, which, as she descended, came from her body. Rather than seize the insect itself, I caught the thread and pulled. The spider was not moved, but the line readily drew out, and, being wound upon my hands, seemed so strong that I attached the end to a little quill, and, having placed the spider upon the side of the tent, lay down on my couch and turned the quill between my fingers’. He continued at this for an hour and a half, after which time he had collected over one hundred and fifty yards of ‘the most brilliant and beautiful golden silk I had ever seen’.

Meanwhile, during lookout duty, Sigourney Wales had also come across this spider and its golden coloured silk. He had been spending his free time carving metal trinkets and medals, but on discovery of the spider he had found another potential material. Using a spool with rubber rings attached, he wound the silk directly from the spider’s spinnerets to create a series of golden rings. These he was apparently able to sell as real gold jewellery to the other soldiers in his regiment.

Wilder and Wales discovered their mutual interest in the local spider, and became convinced of the commercial potential of its golden silk. Once the war had ended, Wilder wrote that he believed that the silking of the large Nephila spiders of the southern states could offer an occupation for the freed slaves, but that it required the invention of some kind of tool that could twist together the thin silken threads into a strand that was thick enough to be woven into cloth. Along with Wilder’s father-in-law, the men submitted a patent for a spider silk spinning machine.

The drawings that accompany the patent reveal a torturous machine. The spiders are held upside down on a rotating disk and their legs and bodies are strapped to prevent them from cutting their silk with their back legs. As the disk was turned, the silk from each spider was drawn upwards and twisted into a thicker strand. From these threads, Wilder was able to weave a small ribbon of golden silk. However, spiders are difficult to keep — not only do they need a continuous supply of live prey, they also have a tendency to eat each other. Added to these problems was the vast amount of time it took to collect even a small amount of silk. Eventually, the men gave up their attempts to develop a spider silk industry. Wilder became professor of zoology at Cornell University, where, by his own bequest, his brain is preserved in the university collection, while Wales became a travelling salesman.

The history of humans attempting to weave with spider silk is scattered with similar tales: optimistic belief in the commercial possibilities of spiders, followed by realisation of the difficultly of the task. Yet there’s something about the resemblance of spider silk to thin threads of precious metals that has repeatedly attracted western inventors. To weave with gold — to create fabrics that shimmered like precious metals — this was the dream of the spider silk weavers.

A wooden ring for collecting silk.

Standing in the scrubland of Folly Island, I have my wooden spool ready to reel in the silk and create a golden ring, but I’ve lost the spider. It was here a moment ago, when I went to set up my video camera, but it’s now disappeared. I'm feeling guilty because I had moved her from her web to where the light was better for filming. I was planning to return her, but now she’s somewhere on the sandy ground. How do you find a spider in a forest? It’s hot, and I’m wearing long sleeves and trousers to stop the flies biting. Looking through the trees to the beach beyond I can see people sunbathing. There is a slight touch on my wrist, a caress. I look down. The spider has been crawling over my body the entire time.

 

Gossamer Days: Spiders, Humans and Their Threads, by Eleanor Morgan, is published by Strange Attractor Press.

 

This article first published in The Journal of Wild Culture, November 8, 2016. 

 

 

Eleanor Morgan's
WILD CULTURE SCRIBBLER'S QUESTIONNAIRE

What is your first memory and what does it tell you about your life at that time and your life at this time?
Running up a street trick-or-treating wearing a pink swimsuit and tights. I think I was meant to be a devil imp. I’m not sure what this tells me, but I like the memory. It was a fine, scratchy swimsuit with a belt and I was fearless.

Can you name a handful of artists in your field, or other fields, who have influenced you — who come to mind immediately?
Dorothy Cross, Angela Carter, Helen Chadwick, Rebecca Horn.

Where did you grow up, and did that place and your experience of it help form your sense about place and the environment in general?
I grew up in a small village in the Midlands. There were cows next door, a fast road past the house, a series of gravel pits and an animal-testing laboratory. It was rural in the way that a lot of England is rural – green but full of industry. I think this entanglement of human and nonhuman activity has affected how I make my work and my interest in making across species. There was no clear divide between where nature happened and where culture happened.

If you were going away on a very long journey and you could only take four books — one art book, one fiction or poetry, one non-fiction, one theory or criticism  — what would they be?
Theory: Richard Sorabji, ‘Animal Minds and Human Morals’. Fiction: Shirley Jackson, ‘We have always lived in the castle’. Non-fiction: Michael J Roberts, ‘Spiders of Britain and Northern Europe’. Art: Alastair Duncan, ‘The Technique of Leaded Glass’.

What was your most keen interest between the ages of 10 and 12?
My main interest was probably model making (cars, helicopters, boats, chess pieces, animals made from cheese wax) and turning the tops of my bedroom furniture into landscapes for these models (deserts, seas, mountains).

At what point did you discover your ability with [your artistic practice]?
I think I’ve been lucky because making marks on paper or experimenting with materials are things I’ve never been afraid of  - at least in the initial moments of making. The bits that come later – judging, editing, presenting – those I find difficult.

Do you have an ‘engine’ that drives your artistic practice, and if so, can you comment on it?
I didn’t realise until my late teens that being an artist was something you could be — and what I liked about it then and now is that it gives a name to what I do. This can be making a representational drawing, but it can also be creating fish prints with a group of fishmongers or embracing a giant sea anemone or singing to a spider. If I have an engine that drives my work it’s this: what if? What would that feel like, sound like or look like? What impossible or imagined things might it conjure? And these questions mean that everything is relevant.

If you were to meet a person who seriously wants to do work in your field — someone who admires and resonates with the type of work you do, and they clearly have real talent — and they asked you for some general advice, what would that be?
There are some things that I find useful to tell myself. Firstly, being an artist doesn’t mean one thing and it can change throughout your life. Secondly, you can’t completely control or predict how a piece of work will come out. Following the surprising moments and allowing things to take their own path, or even to fail, are important. Instead of attempting to conquer the work or a material, invite it, meet it. Thirdly, make friends with other artists.

Do you have a current question or preoccupation that you could share with us?
I’m currently trying to make ink from local clay, so my question is how to get rid of all the tiny grains of soil and make the ink smooth. It takes a lot of filtering and grinding.

What does the term ‘wild culture’ mean to you?
It makes me think of the fringes and uncertainty. It also conjures up the image of a really noisy party full of squawks, barks, singing and rustling.

If you would like to ask yourself a final question, what would it be?
Should I dust away the cobwebs from the ceiling?

 

 

ELEANOR MORGAN is a London-based artist, lecturer and writer specialising in the making processes of humans and other animals. She holds a PhD from the Slade School of Fine Art and has exhibited nationally and internationally at galleries and museums.

Photos by the author, except image at the top of the page.

 

 

Turf and sorrow upturned: 5 poems by Brian Baumgart

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PESTICIDE

Bring back my love in fields wild
with sunlight staining leaves

springtime tattooed

Listen to the whisper from the trucks,

the airplanes dropped low, helicopters
turning and turning.

The radio plays old songs today; the turntable
cracks. All music is cracked, even the songs

of birds. Close your mouth and feel eyelids burning.

Call it impairment. Call
it death. Call it the end
of tiny breaths.

 

Laborer's hands. [o]

THE RIVER

Do you remember the banks of dry sand
we’d carve into diamonds
just to cut our own hands like fire-ready
grass, slit after slit until the skin split
into cracked porcelain?

The river never lets our parents forget,

even on motorcycles speeding through deserts and mountains,
wheels slicing the blacktop
until the rubber shreds into stories they’ll never tell

unless we listen closely to the sounds their cracked hands
make when they curl fingernails into palms.

Sand catches in gears. Nothing slows
  but stops.

When you hear the zephyr listing across prairie,
how much do you remember
about that night? Sometimes, I imagine if we sever our hands
the forgetting will be the river turning dry.

 

Armadillo [o]

INSTALLATION: WALL ON THE BORDER

I hang paintings of wild cats
with copper twine, listening for electric cries
deep in the canyons below
mountains: here they are protected
like glass gloves on all the forgettable cacti

wearing coyote fur, in disguise. You can’t see him
through invisible walls because you can’t
see him at all. If anything

fingers entwined are impenetrable, the harbor of mind,

unfenced.

Self-portraits of dead men hang
on razor wire curled on fences
like regretful DNA. Do not pass.

You do not pass
for the creator if the only bloom you see
along invisible lines is blood
in sand. Even the river is invisible up close, and air

tastes like salt
you’ve sewn over their eyes,
so much vitality is fiction. Armadillos nose

the wall, eyes closed, remembering both sides, unsure
which should be called home,
though the choice has been taken, made
in pen, ink swooping like a skeletal hawk.

 

Fish with . . . [o]

WATER'S A LITTLE HIGH

On the sharp edges of the earth, we could be
drowning in asteroid dust with lungs filled
with sludge, concrete mixing until we’ve become
too heavy to float. The water is a little high

here. Boots sink far below and hips disappear.

But if we look past the reflection the sun casts
over the water, we can see ourselves

a thousand generations ago wearing gills,
the epitome of style for the time.
Webbed toes push the deep water back
into the blackness our mothers crawled from,

but the sun rises too far. The water’s a little
too high to reach the land. And isn’t this

the way it is, even now, everything
just a little out of reach, a little too much, too far?
So much we choke on the dust in our own breaths,
drown in every liquid that calls our bodies

home. Our mothers were the last gasp
of evolution and now we’re turning back.

 

Zanthoxylum americanum. [o].


PRICKLY ASH

A hornet lands on my arm, just above
the elbow, tiny pinprick feet dancing
circles, its ass rises then lowers,
contemplating my fate: to sting
or not to sting.

There is no question. Sweat oils my neck, fills the gap
between a filthy ball cap and head like warm mist.

But the sweat doesn’t come from fear.
I’ve been pulling prickly ash, midday,
and the sun sends blades to skin, cutting,
as my hands curl around the thin trunks

and I yank, feet dug into the soft spring earth,
feel a tug and lift as the roots release their grip
and let go.

The contemplation is imagination, of course. The hornet
cares nothing for me or how I end, even
if thoughts occur in its braided black and yellow head.

So I let it be, in its six-legged pirouette, and I wish
for a light breeze, feel the particles of sandy soil cling
to the slight hairs on my arms, climb
into open blisters. I don’t realize my eyes

have been closed, until they open.

The insect is gone, and I unharmed, burning.

 

 
BRIAN BAUMGART FILLS OUT THE WILD CULTURE SCRIBBLER'S QUESTIONNAIRE

1. What is your first memory and what does it tell you 
about your life at that time and your life at this time?


Although I’m certain that I’ve blocked out a certain 
percentage of my childhood, the first memory that 
surfaces is one in which I was sitting in a garden, covered 
in dirt, too young to speak clearly, while my mother pulled 
weeds. I, on the other hand, recall (and my mother has 
confirmed this) picking hot peppers directly off the plants and 
popping them into my mouth; and, then, because I had yet 
to develop knowledge of repercussions for my actions, I 
rubbed the pepper mash into my eyes. I don’t recall the 
pain that followed, but I’ve heard stories. What this tells 
me is that I’ve always been willing to take risks, to try 
something new, despite the possible consequences. This, I 
think, has followed me into poetry.


2.  Can you name a handful of artists in your field, 
or other fields, who have influenced you — who come 
to mind immediately?


I’m continually influenced by new artists all the time, 
particularly those I know, but some poets who 
immediately come to mind are Naomi Shihab Nye, Ed Bok 
Lee, Tony Hoagland, James Wright, and Denise Duhamel.


3.  Where did you grow up, and did that place and 
your experience of it help form your sense about place
and the environment in general?
I grew up between places.

I was born in semi-rural north 
western Texas to parents from Chicagoland, but a portion 





of my youth was spent in Little Rock, Arkansas — before 
moving to multiple blue-collar suburbs of Minneapolis and 
St. Paul. And, yes, these places I was raised in — and 
particularly the movement between them — gave me a view 
of place that is both stable and transitory; they 
remain, but the lives within them are fleeting. I also, in so 
many ways, attribute this viewpoint to the drastic climate 
differences between Texas and Minnesota.


4.  If you were going away on a very long journey 
and you could only take four books — one poetry, one 
fiction, one non-fiction, one literary criticism  — what 
would they be?


Poetry: Danez Smith’s Don’t Call Us Dead
. Fiction: Sherman Alexie’s The Lone Ranger and Tonto 
Fistfight in Heaven
. Nonfiction: Kao Kalia Yang’s The Latehomecomer
. Lit-Crit: I’d find an anthology with criticism of world 
folklore and fairy tales — not a specific one comes to mind, 
so y’all need to mail them to me along my journey.


5. What was your most keen interest between the ages 
of 10 and 12?


Baseball and Dragonlance novels, both of which remind 
me of that time of my life. I’m proud to say my 
ten-year-old son has embraced them as well.


6.  At what point did you discover your ability with 
poetry?


After graduate school, I’d been adjunct teaching at two 
different colleges, 100 miles apart — teaching whichever 
classes were offered and/or available — which meant that I 
often had numerous preps. This also coincided with the 
birth of my first child, and thus, time was limited. I was a writer, but I never felt as if I had the time for writing my 
fiction; I had three minutes here, five minutes there, so 
I could work on crafting lines and phrases. In the car 
during the commute, I would play with language in my 
head and attempt to record it when the words would strike 
me a certain way that made me leap into new ideas. The 
leaping was what did it; it drew me into poetry.


7. Do you have an ‘engine’ that drives your artistic 
practice, and if so, can you comment on it?


The lower lining of my gut, below the stomach, probably 
near the bowels (human anatomy has never been my 
strong suit), hums and then rumbles when the language — 
the words and sounds — is just right: even if it’s a bit “off,” 
perhaps especially so. My fingers itch when it has been 
too long since I’ve last written creatively.


8.  If you were to meet a person who seriously 
wants to do work in your field — someone who 
admires and resonates with the type of work you do, 
and they clearly have real talent — and they asked you
 for some general advice, what would that be?


This, of course, is biased toward my experiences, but I’d 
tell them to take risks. Find ways to smash expectations — 
but you need to know those expectations first. As a teacher 
of writing, I use the old go-to of “learn the rules, then 
break them.” If there’s any solid and general advice in 
creative writing, that’s it.


9.  Do you have a current question or 
preoccupation that you could share with us?


The question that I and my work keep asking is this: If we, 
as humans, are part of the environment — if we are part of 
nature — why do we work so hard to destroy the rest of it?








10.  What does the term ‘wild culture’ mean to you?

To me, “wild culture” is the fragmented, often explosive, 
often gentle way in which all natural things press up 
against each other and separate again. It’s the entwining 
and unraveling of the beings of the world.


11.  If you would like to ask yourself a final 
question, what would it be?


When you come up against the great unknown, will you 
hesitate or leap forward?







 

 

BRIAN BAUMGART is the Director of the AFA in Creative Writing Program at North Hennepin Community College, in Brooklyn Park, Minnesota. His chapbook of poetry, Rules for Loving Right, was released in 2017; his prose and poetry have appeared in a number of print and online journals, including Tipton Poetry Journal, Blue Earth Review, Good Men Project, SLAB, and Ruminate. He lives in a semi-rural area just outside Minneapolis.

 

 

 

 

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