On Loving A Place

Reading old journals opens up the past revealing details of thoughts and memories long forgotten. When digging through writing notebooks, I ran across this 20-minute Writing Practice from June 16, 2013. It relates to redRavine and lessons that travel with me. In 2019 I still write about the places I have lived, loved, and have yet to travel.

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Loving A Place – 20min

Second cup of French Roast. Kiev sleeps in the window on a fuzzy white cat bed piled on top of blankets. I go over to the desk, organize the pile of envelopes, advertisements, and receipts into separate categories. Then over to the table in front of the couch, an object I love, a painted table that Liz picked up at an auction many years ago. There are painted squares of eggplant, mustard, and turquoise, edged with swipes of paintbrush black. I like surrounding myself with art objects I love. She did good on this purchase.

Next, I gather piles of books from around the living room, most recent purchases, some from a few months ago. I notice that I am halfway through a couple of books, have not even started two more. There is Mni Sota Makoce, The Great Journey, She Had Some Horses, Dragonfly Dance, Twelve Owls. There is The Round House, Hawk Ridge, First Words, and Dewy, The Library Cat. A copy of Refuge that I’ve had for over a decade sits next to the Canon wireless printer. I dug it off a book shelf when Liz, Teri, and I went to see Terry Tempest Williams earlier this year.

I organize the books by size. The heavy photography books like Lightroom 3, Digital Photography, Sony Nex, Black & White Photography are placed on the solid piano bench next to the Room & Board recliner. Liz and I both still buy good reference books; though I am sure many now look online for similar information, there is nothing like a good hardcover book with illustrations. I open the window next to me, feel the light summer wind blow past my face. The cottonwood is just about done dropping her seeds. The cranberry that Liz has named Snowball is fully mature and is blooming with umbrella-shaped pods of white on the tips of her branches.

I feel like I need grounding. I remember something my writing teacher wrote to me after I told her that I was sad she no longer toured or taught in Minnesota. She said she thought I would find Minnesota in her writing. I pick up The True Secret of Writing and thumb through the book, taking notice of the chapter headings that are laced across the top of each page. Loving A Place jumped out at me. I started to read about a layover in Minnesota on the way to Bismarck, North Dakota. This looks good, I think. North Dakota for Liz; Minnesota for me. I settle in to read.

She is staying with a friend who lives near Lake Calhoun. It’s the dead of winter in Minnesota, below zero, at temperatures where ice refuses to be melted by salt.

Two women jog past me, then later a man with a dog on a leash; otherwise, I have the place to myself. I pick up my pace feeling the tips of my fingers freezing. I can’t believe how much love I feel for this place with no logic to it. Sure I met my great Zen teacher here and lived a few blocks away from him for six years and, yes, I learned a lot about writing here, teaching in poet-in-the-schools and then resident writer for two years in a multiracial, multiethnic elementary school and then finally winning a big in-state fellowship that brought me to Israel and that recognized me as a writer. But stopping by a hackberry and staring across the flat white surface of the lake as cars at my back sped by, I understand love has no reason, makes no sense.

Finally I didn’t belong here, just as some of my best loves were not practical to live with or marry, but spoke to a part of me that yearned to be met. And as the years go by I remember them with all the unsheltered love I couldn’t manage to tame. Even though no one would call Minneapolis a wild place, besides its winters, for me, a second-generation Jewish girl from Brooklyn, it was my American frontier. I met people who grew up on Iowa farms, close to that sprawling wide American river, the Mississippi. I watched as people dug holes in the ice and fished and went to summer cabins in the north of their state. I come back to Minneapolis as a seminal home where I have no family and no roots, like a stranger in a strange place.

I’ve written about Minnesota a lot, struggling to escape what I thought was a weird attachment. Most Minnesotans think I hate their state. They are wrong. When I write about a place at all, even if I make fun of it, it’s because it’s stuck to my heart.

My friend Miriam says I have a jones for place. Some people love cars, old houses, the cut and line of clothes. What does our obsession tell us about ourselves?

-from The True Secret of Writing: Connecting Life with Language, Part Three: Elaborations, Loving A Place, p. 110 by Natalie Goldberg

She was right. There was Minnesota. At the end of the chapter, she completed her journey into North Dakota, teaching students, then taking a trip to Theo Roosevelt National Park where the horses run wild. I see that wild in Liz, for generations back, connected to harsh winters, unforgiving wind, broad-stroked skies. Loving a place means learning to love the people who live in that place. Because the place has shaped the people they have become. Some of us are products of many places, depending on where our lives have taken us. To live in a place is not always to love a place; we come to love places where we have not lived.

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NOTE: The name of the Minneapolis lake mentioned in this Writing Practice (Lake Calhoun) was changed in 2017 to Mde Maka Ska. The Dakota originally called the lake Mde Maka Ska (modern spelling Bdé Makhá Ská meaning Lake White Earth.
Related to the topic:  WRITING TOPIC – A PLACE TO STAND

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Standing Your Ground — Arroyo, Gulch, Gully & Wash

the desert is no lady, C-41 print film, driving across
New Mexico, January 2003, photo © 2003-2009 by
QuoinMonkey. All rights reserved.

 
 

Yesterday our blog friend from Seeded Earth was reading her journal from last October and posting snippets on Twitter. One journal entry caught Liz’s eye:

 

Is a wash different from an arroyo, or a gully, or a gulch? We drove over a wash (looks like a dry creek bed) called Car Wash. Really. True.

The entry reminded Liz of last May when we went to see Patricia Hampl and purchased the book Home Ground – Language for an American Landscape. She tweeted back to Bo that she would look up the words arroyo, gully, gulch and wash.

This morning when I got up, Liz was placing Post-it notes on those sections of the book before driving off to work. Curious, I thumbed through the bookmarks and started reading. Our Word Of The Day multiplied to four. I was so fascinated by the subtle differences that I was inspired to post excerpts from the Home Ground definitions on red Ravine.

 
So is a wash different from an arroyo, or a gully, or a gulch? Before you read the answer, what are your definitions? They are powerful, visual words that might even make good Writing Practices. Write one of the words at the top of your page — 10 minutes, Go!

 
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arroyo

The Spanish word arroyo means “large creek.” Often steep-walled, an arroyo may be flat-bottomed sand or laden with boulders and gravel. Arroyuelo and arroyito are the diminutive forms and mean “rill” or “brook.” Arroyos are ephemeral streams, carrying water only briefly during such events as spring runoff of the summer monsoons. In the American Southwest the words arroyo and wash are sometimes used interchangeably, as are arroyo seco (meaning “dry”) and dry wash — though the English terms often describe shorter or abbreviated water courses stretching less than a mile and not necessarily part of a specific arroyo.

 –Arturo Longoria from his home ground, The Texas brushlands, Zapata County, Starr County, Texas

 
 
gulch

In the western United States, gulch is a word for a small ravine. Deeper than a gully, generally narrow and steep sided, shallower than a canyon. Miners often found gold or other minerals concentrated in a gulch’s swash channel. The Blue Cloud Gulch and the Old Dominion Gulch in Montana each yielded gold, silver, and copper for many years. Artifacts of ancient civilizations are also sometimes exposed in a gulch. In Grand Gulch, Utah, for instance, the Anasazi left their mark in red sandstone. In the profusion of gifts offered by gulches, none was more spectacular than the one discovered by a miner in New Mexico in 1987. He saw the tip of tusk in a gulch; the remains were later identified as those of a Columbian mammoth. Public and scientific interest brought about a full excavation of this site, now known as the Dry Gulch Mammoth Site, exposing a grail of bones.

 –Elizabeth Cox from her home ground, Chattanooga, Tennessee

 
 
gully

A channel worn in the earth by a torrent of water carving out a deep ditch is called a gully. Gully erosion happens after a rill, a high-velocity rush of water, has moved large amounts of soil along a depression or drainage line. As water wears away the land, the rill — the geomorphic feature — becomes a gully; cutting farther down, the headlong water makes a gulch, until the cellar doors open into a canyon. Geographers distinguish between gullies, washes, and arroyos on the one hand, and cañadas on the other, according to the materials involved. Cañadas — like cañoncitos — slice through bedrock. Arroyos and washes cut through flat layers of valley deposits; and gullies and gulches erode hill-slope materials.

 –Elizabeth Cox from her home ground, Chattanooga, Tennessee 

 
 
wash

The word wash is used to describe areas where subtle contours allow water to flow, or “wash,” from elevated sites to lower zones, like the bottoms of canyons or along gullies or next to ponds. Carrizo Wash in Arizona and Hunters Wash in New Mexico are examples of washes that run for many miles. A dry streambed or creek is often called a dry wash. In some areas of the American Southwest the words arroyo and arroyo seco are used interchangeably with wash and dry wash. In Desert Solitaire, Edward Abbey writes: “Streambeds are usually dry. The dry wash, dry gulch, arroyo seco. Only after a storm do they carry water and then briefly–a few minutes, a couple of hours.”

 –Arturo Longoria from his home ground, The Texas brushlands, Zapata County, Starr County, Texas

 

-partial excerpts from Home Ground — Language for an American Landscape, published by Trinity University Press

 
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-For more information on the Home Ground Project or to purchase your copy of Home Ground — Language for an American Landscape, important links can be found in the post and Comment conversation at Home Ground — Back In The Saddle. 

Gratitude to the writers of Home Ground, to Bo from Seeded Earth for asking the question, and to Liz for responding. Together they became the inspiration for this Writing Topic.

-posted on red Ravine, Wednesday, September 16th, 2009

-related to post: Midwest Poets & Writers — When Can You Call A Place Home?

 

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Midwest Poets & Writers — When Can You Call A Place Home?

River Painting, drive-by shooting of dusk along the Mississippi River after a walk with two Midwest writers, Minneapolis, Minnesota, July 2008, photo © 2008-2009 by QuoinMonkey. All rights reserved.

 

Last week I finished reading writer Patricia Hampl’s memoir The Florist’s Daughter. It is set in her hometown of St. Paul, Minnesota. The landmarks are familiar to me, and I identify with her descriptions of “middledom” — the ordered streets, the litterless greenways and lakes, the pressure to conform that naturally seeps into the psyche when one lives in the Midwest.

But I was telling a friend, after 25 years of living in the Twin Cities (and I do love it here), I am still a transplant. My roots are steeped in memories of Southern dialect, and the writing and letters of writers like Flannery O’Connor, Alice Walker, and Carson McCullers. I feel an intense connection to the land and culture in the South. The years in Georgia (birth to 12), less than half the time I have lived in Minnesota, shaped me.

I am from the Midwest but not of it.

 

The Midwest. The flyover, where even the towns have fled to the margins, groceries warehoused in Wal-Marts hugging the freeways, the red barns of family farms sagging, dismantled and sold as “distressed” wood for McMansion kitchens, the feedlots of agribusiness crouched low to the prairie ground. Of all the American regions, the Midwest remains the most imaginary, ahistorical but fiercely emblematic. It’s Nowheresville. But it’s also the Heartland. That weight again: the innocent middle. Though it isn’t innocent. It’s where the American imagination has decided to archive innocence.

   -excerpt from The Florist’s Daughter, by Patricia Hampl

 

Patrician Hampl is a poet and a writer. She has written four memoirs and two collections of poetry. And maybe because it’s National Poetry Month, I was drawn to the way she weaves poetry into memoir when describing the differences in her relationship with her mother and father. One wanted her to be a poet; the other, a writer:

 
He could accept the notion of my being “a poet” better than my mother’s idea that I was “a writer.” Poets are innocents, they belong to the ether and the earth. They don’t narrow their eyes and tell tales as “writers” do, proving in their mean-spirited way that the earthlings are filled with greed and envy, that the world is a spiral of small-minded gestures. Poets, at least, don’t tell tales on other people. They celebrate beauty. They make much of the little. Flowers, birds, the names of things are important to them. So being a poet was all right, though hopeless.

There was, even in “tragic” poetry, a note of optimism, of hope, the lyric lilt of meaning and significance. And he was determined to be cheerful all his life.

 

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But for the most part he was silent, absolutely without affect. Finally let down his guard. I would chatter, ask him things, I got nothing—nothing—back. He just sat there, staring. Natter, natter, natter, my voice doing all the cheerfulness, his voice fallen silent as the midsummer fronds of wild rice made low hissing sounds in the wind. His real being, bleached to virtual absence by sun and water, descended to the soundless fish world where you didn’t need to say a thing.

Something about silence, something of silence was at the resistant core of poetry. Silence had to do with honesty. Just sit in the boat and stare at the lake’s troubled surface. No opinions, no judgments. No Leo the Lion—she almost never went out in the boat.

   -excerpts from The Florist’s Daughter by Patricia Hampl
 

♦       ♦       ♦       ♦       ♦

 

A few days ago, a Bill Holm poem rolled into my inbox; it was sent by Ted Kooser on behalf of American Life in Poetry. Two more Midwest poets. We had been speaking of Bill Holm in the comments on several posts after he died unexpectedly a few months ago. He spent much of his time near his roots in Iceland, and I got to thinking, what is a regional writer?

What if you were born and spent your formative years in Virginia, your teenage and college years in Nebraska, then moved to Pittsburgh and New York like Willa Cather. Or were born and raised in Iowa but lived most of your adult life in Nebraska like Ted Kooser. Where are you from? What if you lived in Georgia as a child, Pennsylvania as a teenager, Montana in your twenties, and Minnesota for the rest of your life. Are you a Midwest, Northeast, or Southern writer?

Is it personal preference? The place you were born and raised. The town where you spent most of your life. Do you choose the place. Or does the place choose you? When have you lived in a place long enough to say “I’m from….” When can you call a place “home?”

 

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American Life in Poetry: Column 213

By Ted Kooser, U.S. Poet Laureate, 2004-2006

 

Bill Holm, one of the most intelligent and engaging writers of our northern plains, died on February 25th. He will be greatly missed. He and I were of the same generation and we shared the same sense of wonder, amusement, and skepticism about the course of technology. I don’t yet own an Earbud, but I won’t need to, now that we have Bill’s poem.

 

Earbud

Earbud–a tiny marble sheathed in foam
to wear like an interior earring so you
can enjoy private noises wherever you go,
protected from any sudden silence.
Only check your batteries, then copy
a thousand secret songs and stories
on the tiny pod you carry in your pocket.
You are safe now from other noises made
by other people, other machines, by chance,
noises you have not chosen as your own.
To get your attention, I touch your arm
to show you the tornado or the polar bear.
Sometimes I catch you humming or talking to the air
as if to a shrunken lover waiting in your ear.

 

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American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Bill Holm, whose most recent book of poems is “Playing the Black Piano,” Milkweed Editions, 2004. Poem reprinted by permission of Bill Holm. Introduction copyright (c)2009 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.

 
-posted on red Ravine from the Midwest, salt of the Earth country, on April 22nd, Earth Day, 2009

-related to posts:  Got Poetry? (National Poem In Your Pocket Day), Book Talk – Do You Let Yourself Read?, Desire And A Library Card — The Only Tools Necessary To Start A Poetry Group, WRITING TOPIC – A PLACE TO STAND

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Georgia’s Scottish Highlanders (On Tartan & Targe)

The Black Watch Tartan & Targe, Fort Frederica, St. Simons Island, Georgia, July 2008, all photos © 2008-2009 by QuoinMonkey. All rights reserved.

brand new lease on life
back in the memoir saddle
where do I begin?

ancestors calling
haunting photos of Georgia —
let’s start with the Scots

family line(age),
saturated memories;
everything passed down.

Georgia’s Scottish Highlanders: Memoir Calls Again

Life circumstances have bestowed upon me the gift of time. I called Mom last weekend and we began talking ancestry again (one of our favorite topics). I’m not sure if I’ll be visiting Georgia this summer, but the seed has been planted. I’ve renewed the research catalogue we use for the family tree. And have begun going back through the photographs taken over the last two summers in Georgia and South Carolina.

History excites me; I love the ghosts of the past. Especially if they are connected to the history of our family. Mom has (almost) traced our ancestry back to the Scottish Highlanders in Darien, Georgia (Irish side of family, perhaps Scots-Irish). When we were at John Wesley’s place (English clergyman and founder of Methodism) on St. Simons Island, we read several accounts in old ledgers that led us to believe a member of our family was a Scottish Highlander. The search goes on for that one definitive piece of recorded evidence to back it up.

The Highlanders were known for their battle skills and the British recruited them to help settle the Colonies. Scottish troops serving in the British Army were sent to Georgia in 1736 to set up a new outpost. Under the leadership of General James Oglethorpe, these men established the settlement of Darien and a sawmill along the Altamaha River.

Mom, Liz, and I visited the buzzing wildness of Fort King George last summer. We braved the dripping humidity to walk through one of the ancient cemeteries at the edge of Darien, and the perimeter of a tabby building, now a historic site, that was one of the first black churches in the area (at the time many people in Darien were against slavery). It’s a sleepy, quiet river town. And boy, was it hot there last July!

Warrior Shield: History of the Targe

We had driven to Darien after our stay on beautiful St. Simons Island and a visit to Fort Frederica. St. Simons played a pivotal role in the struggle for empire between the competing colonial interests of England and Spain. Georgia’s fate was decided in 1742 when Spanish and British forces clashed on the Island. Fort Frederica’s troops defeated the Spanish, ensuring Georgia’s future as a British colony. Today, the archeological remnants of Frederica are protected by the National Park Service.

While Liz was out taking video of a British reenactment at Fort Frederica (complete with musket fire), Mom and I, sweat-covered and tired, slipped into the historical area where it was cool and checked out the books and exhibits. I was immediately drawn to the glass case with what looked like a life-sized mandala shield that turned out to be a targe.

One of our ancestors may have worn The Black Watch Tartan (plaid fabric) authorized for use by the Scottish troops serving in the British Army. Or maybe they carried a targe. I did find a link to the history of the targe written by a man who is still constructing them by hand — John Stewart, The Targeman. According to his site, the targe dates back to the 16th Century and was once the Scottish Highlander’s first line of defense. I was fascinated by the details in these excerpts:

Construction —
Targes are round shields between 18″ and 21″ (45–55 cm) in diameter with an inside formed from two very thin layers of flat wooden boards, the grain of each layer at right angles to the other. Targes were fixed together with small wooden pegs, forming plywood. The front was covered with a tough cowhide that was fixed to the wood with many brass, or in some cases, silver, nails. Sometimes brass plates were also fixed to the face for strength and decoration.

Some targes had center bosses of brass, and a few of these could accept a long steel spike which screwed into a small “puddle” of lead which was fixed to the wood, under the boss. When not in use, the spike could be unscrewed and placed in a sheath on the back of the targe.

Materials —
Most targes had their back covered with cow and goat, and 80% of original targes still show straw, crude wool and other stuffing material beneath their ruined skins. Some targes, usually those actually used in battle, had their backs covered in a piece of red cloth taken from the uniform of a government soldier (a “Redcoat”) that the owner had killed in battle.

Design —
The face of a targe was often decorated with embossed Celtic style patterns. Typically two general patterns were used – concentric circles, or a centre boss with subsidiary bosses around this. An exception is the targe in Perth Museum in Scotland which is of a star design (see photo at his site). Although some targe designs appear to have been more popular than others, there is very little to indicate that there ever were “clan” designs.

The targe reminds me of a protective mandala — a warrior shield. Yet I had to wonder how much protection it actually provided in times of war. The Targeman answered that question, too. He mentioned that after the disastrous defeat of the Jacobites at the Battle of Culloden in 1746, the carrying of the targe would have been banned, and many may have been destroyed or put to other uses.

Epilogue

It gave me an eerie feeling knowing I was walking the same ground my ancestors had centuries before. It’s not that all of this historical detail will make it into a memoir — it’s terra firma, a place to stand. The composting of past experience lays the ground for the person I have become. What if an ancestor’s Black Watch Tartan and Targe, in some strange way, blazed the way for the mandala practice last year? And the circle archetype must hold both war and peace.

Resources & Information:

• Fort King George at The New Georgia Encyclopedia — History and Archaeology
• Fort King George in Darien at Georgia State Parks & Historic Sites — including information about Scottish Heritage Day Encampment in March
• The Targeman – Hand Crafted Traditional Scottish Highland Targes by John Stewart
• Fort Frederica at The New Georgia Encyclopedia – History and Archaeology
• Fort Frederica National Monument on St. Simons Island at The National Park Service
• Electric Scotland — info on the history of Scotland, the Scots and Scots-Irish, people and places of Scots descent around the world, Scottish clans, tartans and genealogy
• The Fiery Cross – Award-Winning Newsletter For Clan An Cu, The Highland Independent Company of Darien – newsletter with current day photographs of tartans and targes, a Commentary on whether the Highlanders carried targes into battle (p.7), and a letter of praise from Fort Frederica National Monument (p.5)  — Because of all your hard work, “the Scots remain the backbone of the parks living history program.”

-posted on red Ravine, Thursday, March 5th, 2009

-related to posts: haiku 2 (one-a-day), Coloring Mandalas, W. H. Murray – Providence Moves Too

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WRITING TOPIC – A PLACE TO STAND

At the beginning of the year we read Jimmy Santiago Baca’s memoir, A Place To Stand. It’s the story of his growing up, his parent’s break-up while he was still young, living temporarily with his beloved grandpa, then an orphanage, eventually the D-home, and finally, years in a maximum-security prison. It’s also the story of his becoming a man and a poet.

Certain images from the memoir stick with me. A young Jimmy cowering under his parents’ bed while they fight (then do they make love?). St. Anthony’s Boys Home, alone and lonely in a way even his brother can’t begin to compensate for. The prison scenes, I thought, were especially vivid. 

The way I see it, Santiago Baca wrote about little place and big Place. Little place: his grandparents’ property in Estancia, or the hardest-core cellblock called “the dungeon.” Big Place: his culture and his people, where he came from. Where he went.

This week, write about little place or big Place. Jot down the address or name of a city where you once lived and just go. What comes out? Maybe the details of a neighborhood you loved or the realization that the reason you never felt secure was because you never were. Do a fifteen-minute practice, then polish it into a short essay. Read it out loud to someone you want to know from where it was you came.

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