An otherwise leafless tulip-tree sapling in the yard still holds five or six leaves, curled and sewn into moth cocoons: a simple yet elegant biotic hack. (Update) This is most likely the work of the promethea silkmoth, Callosamia promethea.
Many of the dried goldenrod stalks display a more destructive repurposing, the work of a midge known as Rhopalomyla solidaginis which lays its eggs in the terminal bud and restricts all further growth to that point, where its fat larva feeds and may be joined by midges of other species in search of shelter.
A inflorescence may still emerge from the cluster, but much of the time there’s only the hack’s faux flower, a beautiful fuck you to the Canada goldenrod.
Less destructive is the goldenrod ball gall, winter home of a fly larva, Eurosta solidaginis. The adult which emerges in the spring is said to be a poor flyer, and only lives a couple of weeks — long enough to mate and inject its eggs into a young goldenrod stem. It is the larva that then produces the chemical instructions to grow a globular home in the plant’s core.
I see from the photo that it was snowing when I snapped this. I was intent on the flayed tree, this black locust savaged by a horny buck who must’ve bent it halfway to the ground to reach so far up its trunk. It’s O.K. with me; the tree isn’t one we necessarily want to survive. It’s one of the advance scouts for the forest’s never-ending attempt to take back the ground it lost 150 years ago to field and orchard.
Black locusts are good at that: rhizomatic, nitrogen-fixing, fast growing… the perfect native colonizer. As fast as we prune them out of the old meadow, they reappear, new sprouts capable of growing five feet in a year. The tree in the photo looks like a three-year-old to me. Armed for combat of a sort with its short thorns (nothing like those on a wild honey locust), a black locust sapling seems like good match for a deer’s antlers, which must be flayed themselves and then polished and honed: trees that live a single season and never sprout a leaf.
In the black cherry woods near the Far Field, time and rot have stripped all the bark from a tree brought down by ice five winters ago. Now its bare trunk burns with new life, albeit not the kind typically featured in parables about self-transformation. I look around for saplings in the openings the storm made, and spot a few, but almost none of them are hickories or oaks.
I have seen this forest devastated again and again: by gypsy moth caterpillars 30 years ago and by ever-more-frequent ice storms, the result no doubt of the changing global climate. Will stands like this ever revert to closed-canopy forest, or will they continue to thin until half the mountain is covered by savanna and dominated by fast-growing colonist species such as black locusts, black cherries, striped and red maples, and the alien tree-of-heaven?
It’s easy to get depressed and forget that whatever happens, however stark a desert we make, it will still be beautiful. On a cloudy late afternoon in the monotone winter woods, this allegedly dead tree was by far the most colorful thing.
2011 is the International Year of Forests. For the New Year’s edition of the Festival of the Trees, which will be hosted at the British blog Nature’s Whispers, we’re asking bloggers to share tree-related plans or resolutions, or simply to reflect on their relationship with forests. As for me, I hope to see our family’s 640 acres of mountaintop land given long-term protection through a conservation easement by next year’s end. Uncertain as the future of the forest may be, we need to give it at least a fighting chance.
The other morning I noticed an odd thing. In the clump of dried brown tansy stalks beside the porch, one clump of yellowish green leaves remained.
A closer look revealed a single blossom. Ordinarily, tansy blossoms are confined to the flat-topped head. They bloom in mid-July. Their leaves are so astringent, they repel almost all insects — which is why I grow them: they make a great mothball substitute. Also, I’ve used them in brewing, in lieu of hops.
But what made this one sprig’s clock go off so late? July is always when I start to notice harbingers of autumn: curly dock leaves turning purple, the first orange appearing on the black gum trees. Five months on, it seems that there are still a few forgotten corners of the natural world where the news of summer’s surrender has yet to penetrate. I am reminded a little of my partying days, how I always used to get my second wind at 4:00 in the morning when everyone else was nodding off. “Hey! C’mon! There’s still plenty of beer!”
2007(November 22)
Something approaches at a slow shuffle, gray in the gray light: porcupine. He threads the thistle patch, squeezes under the porch.
2008 (November 27)
That drum so low it sounds as if it’s in your head? A ruffed grouse, beating the air with its wings like one hand clapping. Or so they say.
2009(November 26)
As if giving thanks, the thin, wavering call of a white-throated sparrow. The dawn sky half-cloud, half-clear. A distant owl.
2010(November 25)
Steady rain, and the temperature just two degrees above freezing. In the herb bed, the pale blue wheel of a blossom on the invasive myrtle.
spectral frequency display of this podcast (click to see larger)
On a long-ago family trip to Europe, we were amused and impressed by a national park sign in the French Pyrenees that urged visitors to turn off their radios and “listen to the music of the mountain.” But do these have to be mutually exclusive? Today’s podcast episode is what a radio station devoted to the music of the mountain might sound like. Following my five-minute spoken intro, it’s nothing but natural and anthropogenic sound recorded from my front porch between dawn and full daylight, 7:00 to 7:35 a.m., on Wednesday, October 27.
Readers of my Morning Porch microblog sometimes seem to think I live far removed from the human world, but as this recording shows, that’s hardly the case — and yesterday morning was a quiet one, especially for this time of year when strong inversion layers often mean that the highway noise from over the ridge to the west drowns out everything else. I was also fortunate in that the wind was hardly blowing, and because it had rained during the night, there was a steady if irregular beat as water dripped off the top roof onto the porch roof.
I used my new toy, a Zoom H2 portable digital recorder, which packs front and rear mikes and records in a non-lossy, .wav format. Just listening through it with ear buds while it records really focuses my attention on the soundscape. As I say in the intro, I’ve long been interested in natural sound. John Cage is a hero of mine, and I was pleased to read a new appreciation of him in the October 4 issue of the New Yorker — it isn’t online for non-subscribers, but Lorianne DiSabato was kind enough to send it to me. The author, Alex Ross, quotes John Cage about his infamous “4’33””: “There’s no such thing as silence.” And he quotes composer and scholar Kyle Gann, who recently published a book with that phrase as its title, and describes the composition as “an act of framing, of enclosing environmental and unintended sounds in a moment of attention in order to open the mind to the fact that all sounds are music.”
Making a podcast strikes me as another way to frame “environmental and unintended sounds,” though in the natural soundscape birds and other animals do occupy distinct aural niches, so I think it’s no accident that natural sounds seem more “right” than, for example, mechanical noise. The fact that we evolved in concert (pun intended) with the former obviously colors our perceptions as well. But I do think there’s value in learning to listen to all sound, even noise — which is increasingly inescapable — as if it were composed. It’s a practice perhaps similar to religious faith, increasing one’s sense of gratitude for the givenness of the umwelt. Perhaps I’ll repeat this experiment next May or June, at the height of migratory bird breeding season, so y’all can hear a real dawn chorus, but the more minimal sound of an autumn morning has its pleasures, too, as I hope you’ll agree.
Many cultures recognize natural sound as the ultimate inspiration for human music. The 4th-century B.C. Daoist classic Zhuangzi includes a paean to “the music of heaven” — the sum of environmental sounds — calling it superior to all other forms of music. And the Irish Fenian Cycle includes this exchange, translated by James Stephens:
Once, as they rested on a chase, a debate arose among the Fianna-Finn as to what was the finest music in the world.
‘Tell us that,’ said Fionn, turning to Oisin.
‘The cuckoo calling from the tree that is highest in the hedge,’ cried his merry son.
‘A good sound,’ said Fionn. ‘And you, Oscar,’ he asked, ‘what is to your mind the finest of music?’
‘The top of music is the ring of a spear on a shield,’ cried the stout lad.
‘It is a good sound,’ said Fionn.
And the other champions told their delight: the belling of a stag across water, the baying of a tuneful pack heard in the distance, the song of a lark, the laughter of a gleeful girl, or the whisper of a moved one.
‘They are good sounds all,’ said Fionn.
‘Tell us chief,’ one ventured, ‘what do you think?’
‘The music of what happens,’ said great Fionn, ‘that is the finest music in the world.’
A few highlights. Those who bore easily might skip ahead and start listening about half-way through, when bird calls are more or less continuous.
4:49 end of blather, start of recording
4:50 first of numerous loud taps that punctuate the recording: water dripping onto the roof
5:30 distant horn/whistle, not train
6:35 first bird call (white-throated sparrow, I think)
6:55 unidentified mechanical noise
8:54 more sparrowish chirping
9:36 the flock moves closer
11:00 first cardinal
11:15 brief cut to erase noise of wind filter being inserted over mikes
11:36 first Carolina wren
11:49 beginning of jet overflight (cruising altitude)
13:03 blue jay calls intermingle with wren song
15:19 song sparrow singing
17:00 Carolina wren getting closer
17:47 first crow
18:44 crows getting closer
20:00 two wrens greet each other
25:40 distant plane
27:10 nuthatch’s “yank yank” call intermingled with red-bellied woodpecker’s “cha cha cha” and crow caws
28:36 plane still going over
29:26 begin loud/close crows
31:36 call of pileated woodpecker on fly-by
37:00 another, more distant jet is going over
38:21 crow flies over house
38:30 second snip in recording to remove very loud sound of me leaving porch to answer call of nature
spectral phase display of this podcast (click to see larger—it's beautiful)
The old metal corncrib beside the barn is almost 100 years old, and it shows. In this photo from 1919, it’s the small structure to the left of the barn toward which the toddler appears to be pointing. It’s never been anything but an ugly, functional building, even when it wasn’t yellow with rust. Now the metal roof is bowed in, and is probably beyond saving. We don’t use the building for much of anything these days — I’m not sure how much it was ever used to store corn, since this place was primarily an orchard — and there are plans afoot to tear it down next year and haul the metal off to the scrap yard to be recycled.
And yet inside, the light patterns can be quite beautiful. When I poked my head in today around noon, my camera card was already nearly full with photos of autumn foliage, but I would’ve deleted any of them if I’d needed the room for pictures like this. At first I concentrated on the patterns of light shining in and falling across an old table. Continue reading →
What do you mean
by knife, by wind?
The bluest sky below the wash
of sunset pink, delectable
as a slice of blue fruit riding
the horizon’s blade.
Half a moon over the barn.
The field of goldenrod fuzz
gathering its sparrows, brown
into brown, poor Sam Peabody
as lamentable as ever:
a song that catches in the middle
like a shirt on a thorn.
The wind dying,
& the color in the trees
darkening like dried blood.
So as I mentioned, yesterday was the Big Sit. Though I didn’t count birds, not being a real birder, I did watch a bird for close to twenty minutes, and sitting was most of what she did. I actually don’t know whether she was male or female, but for some reason I thought of her as female. Since I didn’t have a tripod with me, most of the video I shot was kind of shakey, which is why I opted to make this into another one-minute videopoem and cut straight to the standing-up part. Otherwise, I think it would be neat to try and share what it’s really like to watch wildlife (as opposed to what tends to make it onto Animal Planet and the like). When the vulture yawned, I think she was expressing a deep truth about sitting in general.
The Manual series, when complete, will tell you everything you need to know that you didn't learn in kindergarten. Belgian video-artist and soundcreator Swoon is making videos for some of its sections. Guest-author Luisa A. Igloria has been writing a poem a day since November 2010 in response to Dave's posts at The Morning Porch. Yet another on-going collaboration is the dialogue in poems and photos prompted by late-night conversations between Dave and British blogger Rachel Rawlins, a project we call Conversari. Finally, the Words on the Street cartoon, featuring Dave's urban doppelganger Diogenes, returned at the beginning of 2012 as a weekly feature after a several-year hiatus.
