Recent photoblog haiku

blossoming witch hazel
I pound a stuck storm window
with a Chinese dictionary

*

red-spotted newt
even on land it still steers
with its tail

*

where it lost a limb
a glimpse of twisted heartwood
mosquito in my ear

*

old bolete
gnats follow the branching cracks
in its skin

*

first rain in weeks
the dry canyons in my moss garden
disappear

*

night-blooming cereus
two spiders feed
on a white moth

 

And if you haven’t visited for a while, yes, the site does have a new look.

Woodrat Podcast 45: A philosophical lunch with Will Buckingham (Part 1 of 2)

Will Buckingham

On my visit to the U.K. last spring, I arranged to meet with the novelist and philosopher Will Buckingham in a restaurant near the Birmingham train station on my way from Aberystwyth to London. I’m a long-time reader of his blog ThinkBuddha (and more recently of his personal blog) and a fan of his first novel, Cargo Fever. So knowing that he was a guy with wide-ranging interests and a gift for translating abstruse ideas into ordinary language, I figured he had to be pretty interesting to chat with. I wasn’t disappointed.

In this first half of our conversation, I got Will talking about the philosophy in the Moomin books of Tove Jannson; the ancient Chinese Daoist text Zhuangzi (actually, I’ve spared you most of that — Will and I share a great fondness for the work, but I realize most listeners won’t have read it); the pervasive sense of loss in the Western philosophical tradition; teaching and writing; Martin Heidegger; why existentialism is no longer popular; Emmanuel Levinas; and parallels between Indian and Greek philosophy.

Podcast feed | Subscribe in iTunes

Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence).

The driveway walnut tree

the-driveway-black-walnut

As a follow-up to yesterday’s post, I decided to shoot some pictures of the black walnut tree in question. It had rained off and on, but the sun came out while I was shooting, making everything glow and glisten. In processing, I tried switching to black-and-white and found I preferred that for almost all the photos, with the possible exception of the one above. Here’s a slideshow of the set, which requires Flash, meaning that if you’re on an iPhone or iPad, you won’t be able to watch it. However, this is best viewed on a large monitor — once it starts playing, click the four-arrows icon at bottom right to expand it to full-screen. (If you’re on dial-up, it’s probably easiest to browse the set, and if you’re reading this via email or in a feed reader, you’ll probably have to click through to view the slideshow.)

The photo with my hand in it shows what I believe is the scar from our long-ago Frisbee attack. Usually black walnuts that sustain damage to a terminal bud end up forking, but this one did not. A single bud became the new main stem.

Black walnut wood is prized by furniture makers, and the supply is relatively scarce because the trees grow slowly once they start to get big. As these photos and yesterday’s post suggest, however, they grow quite rapidly in their first few decades. My feeling is once they start bearing nuts, that takes so much out of them that they don’t have much energy left to channel into wood. Consider they remain leafless for roughly seven and half months of the year at our latitude, not leafing out until early June, and the very woody nuts are always plentiful — I don’t think pollination ever fails.

The yard of my parents’ house is dominated by black walnuts, which might not seem like a good thing given their legendary inhospitabilty toward certain other plants, which can’t tolerate the chemical juglone exuded by black walnut leaves, husks and roots. However, for birdwatchers like my mom, they’re ideal because they leaf out so late and lose their leaves so early. When migrating warblers move through the yard, she has no trouble spotting them.

As for the walnuts, they are a bit of an acquired taste and a lot of work to remove from the shells, requiring a sledgehammer and extensive use of a nutpick. The hulls — source of the ink my friend Alison is so fond of — are easy enough to remove, but you have to wear gloves. If you don’t, as we didn’t when we were kids, you tend to provoke comments like, “Hey Bonta! Did you’ns run out toilet paper?” Kids can be cruel. These days, we find it much easier just to buy a jar of pre-shelled black walnuts for a couple dollars from the local Amish whenever we need some, so the squirrels up here feed very well.

Gray squirrels are scatter hoarders, and it’s their burying of the walnuts all around the yards and meadow that’s responsible for most of the new trees — those few that get past the deer (or boys with Frisbees). In the book North American Tree Squirrels, mammalogist Michael J. Steele recounts some of the strategies gray squirrels use to keep other squirrels from discovering their walnuts, including digging a couple fake burial sites in a row before finally burying the walnut for real if other squirrels are watching. I also once watched a squirrel excavate a walnut that had been buried about a foot down, clean it all off, then dig another hole a yard away and re-bury it. I suspect it thought another squirrel had watched the initial bury.

The most amazing fact about this behavior to me is that the squirrels rely on memory alone to recover hundreds of nuts, even when they’re buried under an additional foot or more of snow and ice. Steele has calculated that a squirrel digging a black walnut out of the frozen ground on a bitter cold January day, then chiseling through the rock-hard shell, expends more energy than it gets back from eating the nut. Hence, I suppose, the frequent raids on the birdfeeder to make up the deficit.

Don’t forget to submit tree-related links to the Festival of the Trees monthly blog carnival (deadline: September 30). The next edition will be at europeantrees — and we are still looking for a host of the following (Nov. 1st) edition.

Goal-oriented

There’s a black walnut tree beside the driveway that my brothers and I tried to kill one spring evening when we were teenagers and it was just a seedling. Now it drops fat green planetary objects from 50 or even 70 feet up, another one landing on the old cracked tarmac every so often with a heavy thunk, like a worn-out clock that has forgotten how to toll. But the tree’s in the prime of youth; it is I, the one-time would-be assassin, who has turned decrepit. I have a fan in a little cage that I turn on my face in the heat of the summer, and for most of the other three seasons, my bony knees remain cold no matter how many layers I wrap them in. The falling walnuts remind me not of harvest-time and blessings as they should, but of all the projects I’ve abandoned, including love, reproduction, a career, the whole matter of being a useful citizen.

It should be noted that we have plenty of squirrels, so sometimes the walnuts don’t fall on their own; they are pushed. Maybe the squirrels are simply clumsy, and drop the nuts by accident. But I’ve watched them do it, and I have to say I think they relish the sound of a walnut connecting with its unmissable target the earth, like bored kids with a frisbee aiming for the terminal bud of a tree seedling at the edge of the yard, and shouting with triumph when a lucky throw shaves it bald.

The Origin of the Exclamation Mark

A gasper, a screamer,
a dog’s cock, say
the old type-setters,
frozen at point.
But it’s older than
type, old as a dried
stalk trembling on
the way to earth,
a mud-dauber tube
like a tuneless flute,
the trail of a slug
down the moss face
of a cliff, a severed
finger packed in ice,
a No. 2 pencil pocked
with toothmarks, a
snake made of sand,
a microphone hung
from the ceiling,
the fossilized thigh-
bone of an extinct
sauropod, a string
of drilled shells
used in lieu of
money, or a
gas flare on
an oil field
at night.

Legend
says: the word
joy written vertically,
in Latin, a big letter I
balancing on a
full belly.

Kay Ryan on nonsense, poetry, and knowledge


Watch on Vimeo. The Lannan Foundation has also uploaded a video of the reading that directly preceded the conversation.

I usually share other people’s videos only on Facebook or (for poetry-related stuff) Moving Poems, but the length and via negativistic content of this conversation might make it a better fit here, I thought. I love what Kay Ryan has to say about poetry and knowing, and about knowing and making stuff up. You have to watch the video to really get a feel for how unseriously she takes herself, but I spent some time this morning making a transcript of a few of my favorite parts of this conversation, which occur somewhere near the middle. This helps me understand a little bit better what I do myself in my writing — especially the part about the need for coldness.

*

Kay Ryan: “I think nonsense is extremely close to poetry. Nonsense — I figured this out when I was fairly young — nonsense operates by rules. You cannot have nonsense outside the context of sense. It, uh — it’s in tension with sense.”

Atsuro Riley: “You like to make a statement in your poetry. You’re quite willing to do it, you like to do it, you seem insistent upon it — ”

Ryan: “A lot of them are bogus, though. They’re bogus. You know. I like the fake — I think you pointed this out! — the sort of, you know, the pedant, the mock polemic. Yeah. And they’re just ridiculous, you know. Like uh, oh, what’s the one about the, uh, extraordinary lengths… Oh yeah, right — I don’t know, uh, ‘Extraordinary lengths are always accompanied by extraordinary distances.’ And, you know, that’s just such a stupid thing to say! I just love to say something like that. I, uh —

“Well, let me explain that. I like to make — well, boy, I’m glad you brought that up. Because I, I think that I’m really interested in something that is so hard to perceive. Like light coming from the furthest star. It’s, it’s, it’s very frail when it gets here. Very frail. But looked at another way, it’s incredibly strong, ’cause it’s gotten all the way here from the furthest star. So it’s something incredible strong, but we’re getting just a little bit of it!

“So what I do, what I try to do with this thing that I can just barely perceive, is to jack up the intensity like crazy. Make a cartoon out of it? You know. Make a diorama, have puppets do it. You know — overdo it. I’ve gotta magnify it because it’s — and I have to sound more sure than I am. Because — because I don’t know. I only a teeny tiny bit know! Maybe. I’m trying to know. So I build up — I build something that I hope has a lot of, uh — well, as my step-daughter would say, flavor-punch. I like flavor-punch. I love Southwestern food! But I like to give a lot of color. And reality. Of course it’s all specious, but, uh, you know — ”

Riley: “But to help you think through the question.”

Ryan: “To help me think, yeah. It’s like setting up — and I think you said, too — ”

Riley: “Magnified conundra.”

Ryan: “Yeah. And little, uh, models. You know? Einstein — and I always like to connect myself with Einstein! — Einstein, you know, worked in the patent office. Before he was — before he thought his really great thoughts. And I think it shaped his mind to a certain degree. That business of seeing in terms of models. And I think that that’s what we do in poems. (I mean, not just me, but — ) We make a model, and it’s really a model for something different. I mean, this is the model, but it’s really trying to talk about that starlight somehow. That little thing we just know with some interior part of our brain, to which we have very little access.”

Riley: “Let’s talk about coldness. What is it in a poem — I’m not sure I exactly understand — and, um, why do you like it?”

Ryan: “Well, I mean I think it’s just constitutional. I think — I think one of the things that we do when we write, or one of the things I’ve done, is try to make a world I could live in. You know? I make in my poems a world that is, uh, congenial to me. ‘I like how she thinks!’ You know? It makes me feel at ease to articulate those things. It, uh — I can make a world that has the rules that I want. And I think that, as most people here [in the audience are], I am sensitive. I feel under… I am too stimulated. There’s too much coming in all the time. There’s too much heat. There’s too much closeness. There’s too much personal. There’s too much giving away of secrets. There’s not enough, ah, distance. There’s not enough chill. And if I can do my small part to add a little coldness and distance to the world, I will not have written in vain.”

[…]

Ryan: “I discovered a long time ago — and it seems so counter-intuitive, but I found that I had to start writing about things when I was just on the front edge of knowing about them. I mean, just — I hardly knew about them. If I waited, I would be paralyzed by knowing too much. And I, I couldn’t write. There always has to be a large sense of, ‘Oh, I’m just inventing this.’ But then later you can look back and say, ‘No actually I wasn’t inventing it. I still think that I, that there’s something there that I will stick with.’ But I always have to write it before. And if I’m overwhelmed by knowledge, or feeling, or something, it’s just no — I just can’t write.”

Walking in the dark

Walking through a dark forest without a flashlight is an exercise in trust: trusting your feet to find the trail, trusting chance not to place a new fallen tree at shin level, trusting that a storm won’t blow in — for there’s no hurrying this slow shuffle. Over the chanting crowd of katydids in the trees, I hear the thin, whispery alarm calls of flying squirrels. I stop and peer at an almost vertical row of glowing spots a few feet off the trail: foxfire.

The damp air is an olfactory smorgasbord of molds and fermentation. As my eyes adjust, I begin to discern different flavors of darkness, too: here the rich black shadows of trees, there the cafe-au-lait openings of trail or blow-down. I feel less helpless now, more in control. But no sooner do my feet and eyes grow accustomed to their new normal state than the restless mind is off again, and I have to keep calling it back: Heel! Stay!

Is it loneliness that prompts it to wander like that? If I were sharing this darkness with others right now — say, outside a federal penitentiary in Georgia, cupping a candle flame — would I be better able to maintain focus? If instead of myself I were, in fact, concentrating all my thoughts on some victim of the criminal injustice system on his last, too-short walk into permanent darkness, wouldn’t my own hopes and dreams fade into the background, as faint as foxfire?

The sound of a very small shower approaches. I take my hat off to relish the tap of its millipede feet on my close-cropped scalp, but it’s already past. An odd reaction, perhaps — a sign that, deep down, I might still crave another’s touch.

Somehow I find the brushy intersection where the Short Way Trail leads down off the ridge, and soon I am seeing a light among the trees. Look, nobody’s home! Blinking dots of light in the window where an ethernet unit sends and receives from a world-wide web.

And how is it, I wonder as I enter the house, that I managed to walk all that way without blundering into a single spider web? The equinox may not be until Friday, but autumn is already here. Or as the book of Jeremiah puts it: The harvest is past, the summer is ended, and we are not saved.

Rest in peace, Troy Davis.