The Quaking Bog

Cattail Bog, Sony NEX Shots, Minneapolis, Minnesota, February 2012, photo © 2013 by Liz Anne Schultz. All rights reserved.

When you live in a land of lakes, you tend to develop an intimate relationship with wetland geography. Liz passes Theodore Wirth Park on her journey to and from work and sometimes stops to take photographs of one of its hidden gems—the Quaking Bog. The park’s Quaking Bog is a five-acre acid bog where nearly 200 mature tamaracks shade the understory sphagnum moss. Bogs (also known as mires, quagmires, muskegs, and fens) are remnants of the last glacial age. They each develop differently, depending on climate and typography, and often occur when the water at the ground surface is acidic and low in nutrients.

Bogs are often classified based on their location in the landscape and source of water. There are valley bogs, raised bogs, blanket bogs, quaking bogs, and cataract bogs. Quaking bogs develop over a lake or pond, with bog mats (thick layers of vegetation) about three feet thick on top. Quaking bogs bounce when people or animals walk on them, giving them their name. My most vivid memory of walking a bog was a side trip we took on a canoe trip in the Boundary Waters. Here are the impressions of two writers from one of my favorite books on topography, Home Ground: Language for an American Landscape:

QuoinBog Path, Sony NEX Shots, Minneapolis, Minnesota, February 2012, photo © 2013 by Liz Anne Schultz. All rights reserved.

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bog

The low-lying area saturated with water creates a hollow of decomposed vegetation in wet, spongy ground. This strange land is called a bog, a word that’s been used since about 1450 to refer to such places. The ground sinks underfoot—-collapses, sucks under. It is a netherworld dimly lit, and a rank smell hangs in the air. Yet a bog is far from dead. It supports plant life; as an ecological system, it can be described as a plant community. Cattails, rushes, sedges, and bulrushes are plants that initially creep into a lake and begin to transition that body of water into a bog. The term most often applies to wetlands that have little inflow of water through streams and are fed, instead, mainly by precipitation. What happens is that the plant material growing in the lake dies off and eventually becomes peat. When the dead and dying vegetation rises to the water level of the lake, this accumulation of peat forms a dome, which prohibits any new plants from growing. Without the inflow and outflow of water, a black skin forms, an oily and idle mire locked in a world of its own contrivance. A foot stepping in goes beneath the surface, fast like a thief. Bogs can be found throughout the United States—Web’s Mill Bog, New Jersey, for instance, and Hanging Bog near Cedar Rapids, Iowa. The term bog is also often used in literature to represent the cessation of growth, or a human’s stuck place. In The Red Badge of Courage, Stephen Crane uses a bog to express the conditions of the Civil War. “He is obliged to walk upon bog tufts and watch his feet to keep from the oily mire….The youth went again into the deep thickets. The brushed branches made a noise that drowned the sounds of the cannon. He walked on, going from obscurity into promises of a greater obscurity.”

–Elizabeth Cox from her home ground, Chattanooga, Tennessee

quaking bog

The quaking bog is one of the most novel features of forests of the northern United States, especially those in New England and Wisconsin. It’s an area of sphagnum moss, rushes, sedges, and decaying vegetation, the whole mass of which is floating on a pool of water. The surface appears solid and stable, until trusted with the weight of a step. What seems to be firm ground then shivers, sinks, and rises, like a natural trampoline or waterbed. If the first shimmy of this rich root mass underfoot is not heeded, one might easily break through the entangled mat into water and loose mud below, as if one had stepped into quicksand. The quaking bog suggests in perceptible human time the larger ripple, rise and fall, and shifting of the Earth’s surface in geologic time.

–Robert Morgan from his home ground, the Southern Appalachians of western North Carolina, though he has lived in the Finger Lakes region of upstate New York for thirty-five years, and in many ways that seems like home also

Quaking Bog Tree, Sony NEX Shots, Minneapolis, Minnesota, February 2012, photo © 2013 by Liz Anne Schultz. All rights reserved.

RESOURCES:

National Geographic Education – Encyclopedic Entry – Bog

Video – What Is A Quaking Bog?

Home Ground: Language for an American Landscape

-related to posts:  Standing Your Ground —-Arroyo, Gulch, Gully & Wash, Midwest Poets & Writers — When Can You Call A Place Home?

-posted on red Ravine, Thursday, March 6th, 2013

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Lush

By Sandra Vallie

It’s hot, pushing 100, and I have to wait until it’s cooler to water the heat-sapped garden. Until it’s cooler, or dark, or 7 pm, the time the city allows watering – whatever measure I decide today is the tipping point where the amount of water soaking into the sand is greater than what the bone-dry overheated air is sucking up into itself. In the house, safe out of the sun, I’m anxious looking at the heat-limp plants across the yard. Corn leaves curled into points, drooping tomato plants and cucumber leaves flat against the ground. I know the plants are well-watered; some of what I see is self-protection and some a part of the taking up and giving off of water. As soon as the sun moves further toward the west and I carry water to the plants through the hose, the leaves and stems will fill with water and this limp spread of green will become plants again.

I’m from Michigan and this is my first year trying to grow vegetables in New Mexico. I pretty much planted the garden twice because I hadn’t learned that we can still have below-freezing nights even when the temperature in the day is 80 degrees. How much water is too much and what is enough. Why, when I asked the woman at the nursery about gardening in New Mexico, she told me to not even try. Half the plants I put in my son’s yard last fall didn’t make it through the winter, falling to the cold and what I haven’t learned yet.

For 20 years, I watched peonies, lilacs, tulips, hosta, coneflowers, azalea, iris, daylilies and butterfly bushes grow tall, wide, and fragrant. Lush. Luxuriant and juicy. Moisture in the air reflected the hundred greens growing around the yard and the air glowed. Lettuces, green, red and purple, came in the spring, followed by peas and beans that reached across the raised beds to share the poles supporting plants and pods. Tomatoes grew so fast and heavy they kicked away their cages. Cucumbers ran across the garden to the corn and climbed high enough I could pick the fruit without bending over.

I exaggerate. A little. Lush it was, very different from my yard here, each plant holding to its own space, as if each one feels it deserves only so much water and so many nutrients from the spare soil. I’ve never seen plants grow so slowly; at first it’s almost as if each morning they decide whether or not to push up, out, forward, just one little bit. As if they know that growing higher will put them closer to the sun and they’ll be hotter. My plants in Albuquerque work harder than plants in Michigan. In this place where there is so much space, where I finally feel I can be as big as I am, exuberant, joyful, expansive and – well – lush, my vegetables appear so tentative and afraid.

Cactus spread, although I don’t know that I’ll ever call them lush. There are several in the neighborhood I’m drawn to, even a couple I’m lusting after for their deep, almost hallucinatory red-purple blooms or their improbable flowers, yellow and ten feet above the plant their stalk grew from. Cactus, though, and weeds like the silverleaf nightshade, the most prolific plant in my landscape cloth- and gravel-covered yard, are what led me to write a few years ago after a visit: “Everything green here bites.” I know I’m never going to embrace a cactus or walk barefoot across the goatheads and foxtails to get to them. I yearn to load my arms with heavy-headed peonies and stargazer lilies that are deep enough to serve soup in, although I’m afraid I’d have to drain the remaining water out of the Rio Grande to do it. Before I moved here I asked a friend if I could grow roses in Albuquerque. “You can grow anything you want in Albuquerque as long as you can afford the water.”

The roots of my grandmother’s peonies I carried south are in pots out back, not growing. Soon, not yet, I’ll have to admit what I know and stop watering. I didn’t have time before we moved last fall to lift lilies or divide a few coneflowers. The rose bush by my bedroom window, though, is the same as the one that died in my Michigan garden a couple of years ago, my grandmother’s favorite. There are green tomatoes on the plants and sooner than I know they’ll be full and red enough for dinner. Lush is changing, from the huge bushes and plants that grew in the Michigan rain to the sound of water rushing through the garden hose, the sight of it spreading around the watermelon plants and at the feet of the raspberries, the corn leaves unfolding as the still skinny stalks draw up water from the soil, and the gratitude I feel that I have water to grow food with. The air may not be green from the plants, but the sky is crystal blue. While I’ve written this, it has become late enough to head outside to water and the first flowers on the cucumber plants have opened today in the heat.

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About Sandra:  My fairly recent move from my job and life in Michigan to Albuquerque, New Mexico, has opened up the opportunity (for which I’m gut-wrenchingly grateful) to write in spans of hours instead of stolen minutes. Although I’ve written mostly poetry in the past few months, I’m enjoying the process of exploring different forms for different subjects. I’ve been fortunate to have a community of encouraging and creative writers in the Albuquerque Ink Slingers, a local Meetup group, and my husband’s graceful willingness to live and work in 100 degree temperatures.

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The Master Butchers Singing Club (Revisited)

The Master Butcher (Louis Erdrich) – 255/365, BlackBerry 365, Minneapolis, Minnesota, September 2010, photo © 2010 by QuoinMonkey. All rights reserved.

To celebrate the World Premiere stage adaptation of The Master Butchers Singing Club at the Guthrie, Liz and I have started reading the novel aloud to each other. I savor each moment. This will be second time I have followed Fidelis from Germany with his pristine set of knives and suitcase full of sausages, walked the streets of Argus, North Dakota with Delphine and Cyprian, and sat at the clean and ordered table of Eva Waldvogel.

The first time was at least five years ago when my relationship with Liz was just getting started. We quickly discovered that we both loved art, music, writers, and books — lots of books. Liz grew up in North Dakota and Louise Erdrich was one of her favorite authors (she had gone to see her speak in the 80’s at Moorhead State). To help win me over, and in a courtship ritual I didn’t find the least bit bizarre, she checked out two library copies of The Master Butchers Singing Club on CD, handed one to me and said, “I thought we could listen to them separately in our cars and compare notes. What do you think?”

Seven years and some odd months later….we learned that Master Butchers was coming to the Guthrie and vowed to pick up tickets. A few weeks ago when we attended The Scottsboro Boys, we stopped by the ticket window and sealed the deal. Then Birchbark Books (the independent bookstore owned by Louise) announced on Facebook that it had a few signed, First Edition copies of The Masters Butchers Singing Club for sale. I returned home that evening to find the book gleaming off the coffee table. And there on the cover, in a photograph taken June 8th, 1912, in Pforzheim, Germany, was the Master Butcher himself, Louise’s grandfather, Louis Erdrich.

Can you imagine having your novel adapted for the stage in such a prestigious venue as the Guthrie Theater? If the Guthrie’s photograph of Louise and her daughter on set before the preview opening on September 11th is any indication, it is a feeling of elation and pure joy.

We’ll be attending the play in October (with several friends) and will come back and check in later this Fall. According to Minnesota Monthly, director Francesca Zambello didn’t know Louise when she frequented Kenwood Café and picked up a copy of Master Butchers at Birchbark next store. But over time, “With Erdrich’s blessing (and advice), Zambello and Pulitzer-winning playwright Marsha Norman began condensing the sprawling family saga, set in the fictional town of Argus, North Dakota, between the world wars. There’s more singing and less butchering now. And that’s fine with Erdrich…”

In my humble opinion, The Master Butchers Singing Club is one of her finest. I can only imagine that Louise’s grandfather would agree. It is a book about the importance of place and culture, a universal story. There is a way that Louise’s books honor those who came before her, generations of ancestry in perfect imperfection. As above, so below. So may it be.

The Erdrich Sisters, Heid, Lise, Louise, Minneapolis, Minnesota, February 2008, photo © 2008-2010 by QuoinMonkey. All rights reserved.

Additional Resources:

MPR Midmorning: From the page to the stage – The Master Butchers Singing Club. Kerri Miller’s interview this morning with Louise Erdrich and Francesca Zambello.

Minnesota Monthly Profiles Author Louise Erdrich, September 2010 – Staging Erdrich by Michael Tortorello including 5 Things You Didn’t Know About Louise.

Play Guide, Interviews, and Ticket Info on The Master Butchers Singing Club at the Guthrie Theater.

Louise’s bookstore, Birchbark Books where you can get your own First edition, first printing, hardcover of The Master Butchers Singing Club signed by Louise Erdrich, or the newly re-issued Fishing for Myth from Heid Erdrich.

Bill Moyers interview with Louise Erdrich on Bill Moyers Journal, April 9th, 2010

Louise Erdrich on Faces of America with Henry Louis Gates Jr.

-related to posts: The Company Of Strangers (On Louise Erdrich & Flying), Book Talk — Do You Let Yourself Read?

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Homing Instinct

Homing In, Pigeon Coops at Mabel Dodge Luhan House in Taos, NM, June 28, 2008, photo © 2008 by ybonesy. All rights reserved.
 


When Jim and I started dating he wanted to take me to two places. One was the cabin his grandparents built in the 1940s, in the Pecos Mountains. The other place was the Rio Grande Pyramid in Southwestern Colorado — at 13,821 feet above sea level, source waters of the Rio Grande.

Within our first two months together, we went to both. They gave me a sense of who Jim is in his core — wilderness, mountains and valleys, creeks and rivers, building things by hand.



             



This past weekend in Taos, then, it is no surprise that I find myself walking with my daughters one morning up the long lane to the Mabel Dodge Luhan House.

“Where are we going, Mom?” they ask.

“You’ll see.”

We reach the uneven flagstone patio in front of the house. Dee says she loves the roughness of the stones. She spies a big rock wheel laid on its side into the walkway and stands in its center, surveying all around her.

“Papa Leo helped lay these stones,” I tell her.

“He did?!” Her eyes are wide. 

My father worked one summer at this place. Mabel herself was gone, but an English author hired Dad to help put in the flagstone. Dad was 16 or 17 years old, scrawny and not a good laborer. He’s told me the author, whose name he thought to be Henry James or James Henry, was not pleased with his work. (I need to do more research on who this writer might have been. Author Henry James died just about the time Mabel Dodge arrived in Taos, so it couldn’t have been him.)

The next morning I return to Mabel Dodge Luhan House with the girls and Jim in tow. I lead them into the front door, show them the living room and dining room, point out the magical door leading to the library. It’s shaped liked a canoe that’s been sawed in half, the tip at the top. Jim and I each stoop to go through the doorway. Dee and Em stand beneath it, looking up at the strange arch. The door is made just for them.




Jumping Jack Wagon, Jumping Jack pansies at Mabel Dodge Luhan House in Taos, NM, June 28, 2008, photo © 2008 by ybonesy. All rights reserved.



Homing in. We hold our homes in our hearts. I live in the Rio Grande Valley, next to the cottonwoods and the muddy river. This will always be more than just a place to live.

Parts of Northern New Mexico — Taos, Morada Lane and Mabel’s house, Costilla, Cimarron, maybe even the dying and not very attractive town of Raton — these are homes I will always hold inside me.

What places do you call home?

-related to posts Sitting In Solidarity, Mabel’s Dining Room, and 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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WRITING TOPIC – ROADSIDE ATTRACTIONS

Giant Red Wing Boot, Bay Point Park, Red Wing, Minnesota,
August 2005, photo © 2005-2009 by QuoinMonkey. All rights
reserved.

We didn’t travel much when I was growing up. Maybe a weekend trip to the beach in Charleston or Savannah. Or taking a drive through the Great Smoky Mountains along winding roads of the Tennessee hills to visit my grandparents over Easter. But for the most part, we stayed close to home.

It wasn’t until my early twenties that I started to criss-cross the country by Ford Econoline van, vintage Karmann Ghia, yellow Mercury Capri, and powder blue VW Squareback. Those were the years I discovered my wanderlust and the uniquely American, Roadside Attraction. Though their heyday may have been the 1950’s and 60’s, if you keep your eyes peeled, Roadside Attractions still pepper America’s highways and byways.

In Minnesota, they might take the form of an 18 foot tall, 2 1/2 ton Paul Bunyan, and 5 ton Babe the Blue Ox. South Dakota has the Corn Palace (thanks to Bo’s comments for the great postcard link). And Texas has Cadillac Ranch creating by eccentric millionaire Stanley Marsh, 3 who in 1973 invited a San Francisco artists’ collective called the Ant Farm to help him turn 10 used Cadillacs into a landscape work of art.

Are car and seed art not your cup of tea? Head East and check out the Giant Koontz Coffee Pot in Bedford, Pennsylvania (built by Bert Koontz in 1927). In 2003, rather than have the coffee pot meet an untimely demise, Bert’s great nephew Dick Koontz, and a group of Lincoln Highway supporters, relocated the Pot to the Bedford County Fairgrounds across the street. Or perhaps your direction is West; you might explore the haunted Garnet Ghost Town at the head of First Chance Creek, 6,000 feet up in the mountain forests east of Missoula, Montana.

Ping-pong back to the Midwest for a gaggle of giant boots dotting the Minnesota landscape near the southern river town of Red Wing (named after a distinguished Indian Chief named Hupahuduta, meaning a swan’s wing dyed in red). Red Wing shoes were the 1905 vision of Charles H. Beckman. The Red Wing No. 16 boot was issued to World War I soldiers; during the Great Depression, the factory workers burned scrap leather to stay warm.

For their 100th Anniversary, Red Wing spent $100,000 and 1 year building a supersized “638-D” replica of their classic work boot No. 877. The world’s largest shoe, it’s 16 feet tall, 20 feet long, and required 80 cowhides, 1,200 feet of rope and 300 pounds of adhesives. The shoelace is 104 feet long (here’s a shot of Norm Coleman next to the boot).

Do you have childhood memories of a favorite Roadside Attraction? Big Critters, 2-Story Outhouses, the Jolly Green Giant? Where was it located? What age were you when you visited there. Who was with you? Have you passed a giant Mauston Mouse and just had to stop and take a photograph?

Or maybe you seek out Roadside Attractions wherever you travel like the creator of one of the best sites I’ve found on the subject, Debra J. Seltzer’s Roadside Architecture. Debra travels around the country documenting disappearing Roadside Attractions (she’s heading to South Carolina, Georgia, and Florida in March).

Flip-Flop Travel Bug, Red Wing Palms, Bay Point Park, Red Wing, Minnesota, August 2005, photo © 2005-2009 by QuoinMonkey. All rights reserved.

Get out your pens and do a timed Writing Practice on Roadside Attractions. Using all the senses, write down as many details as you can. Choose a specific amount of time — 10, 15, 20 minutes — set a timer, and Go!

Stop when the buzzer, bell, or alarm goes off; read what you’ve just written out loud to yourself. You might be surprised at what you discover. And if all else fails, there’s always the Tom Robbins version of life on the road — Captain Kendrick’s Memorial Hot Dog Wildlife Preserve in Another Roadside Attraction.

Resources & Inspiration:

• Roadside Architecture — Debra J. Seltzer’s wonderful roadside site, created in 2000. No ads or pop-ups. Check out her Flickr sets from across America. She’s got passion for this subject!
• World’s Largest Roadside Attractions — Roadside Attractions from around the world. Based in Minnesota. No ads or pop-ups.
• Roadside Photos — Great photographs and postcards. Site of Doug Pappas with no advertising. Another person with passion for the road.
• Roadside America — Lots of ads but some good info there.
• Legends of America — Again, lots of ads. But good detail in the descriptions.

 

-posted on red Ravine, Friday, February 20th, 2009

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The Vitality Of Place — Preserving The Legacy Of “Home”

Elements: Fire, Air, Earth, Metal, Water, & Wood, Kiowa, the D. H. Lawrence Ranch near Taos, New Mexico, February 2007, all photos © 2007-2008 by QuoinMonkey. All rights reserved.

I have lived most of my life near major rivers: the Savannah, the Susquehanna, the Clark Fork, Bitterroot, and Blackfoot rivers that run through the deep mountain valley of Missoula, Montana. But for the last 24 years, home has been near the Mississippi in a Midwest state that boasts the river’s birthplace – Lake Itasca, Minnesota.

Liz and I explored Itasca State Park a few years ago and stood at the source, the Mississippi Headwaters, on root clusters of some of the oldest Red and White Pines in this country. Closer to my Southern roots, I recently started reading Mark Twain’s Life on the Mississippi, part of The Family Twain published in 1935, an original volume bought at a garage sale last summer.

If you follow the river’s flow, you will gain a whole new respect for Samuel Langhorne Clemens (Mark Twain) who published more than 30 books, hundreds of short stories and essays, and gave lectures while touring the world. That’s part of the reason my ears perked up at a recent NPR piece, Finding Finn, when I heard writer Jon Clinch plea for financial support to help preserve the financially-strapped Mark Twain Home in Hartford, Connecticut.

Clinch, author of Finn, and a host of other writers gathered at the home in September and read from some of their favorite Twain books to show their support. The list of authors included such heavy hitters as Tom Perrotta (The Abstinence Teacher), David Gates (Jernigan), Arthur Phillips (Angelica), Tasha Alexander (Elizabeth: The Golden Age), Philip Beard (Dear Zoe), Kristy Kiernan (Matters of Faith), Robert Hicks (The Widow of the South), and Amy Mackinnon (Tethered).

Maybe you’re thinking, what’s this got to do with me?

Everything. Maybe for you, it’s not Mark Twain. But have you ever seen Georgia O’Keeffe’s paintings, then longed to visit Abiquiú or the Pedernal near Ghost Ranch, New Mexico? It throws a whole other perspective on a lifetime of painted desert. What about Hemingway’s early days in Kansas City, Missouri. Or Flannery O’Connor’s childhood home in Savannah, Georgia.

Maybe for you, it’s visiting the home architect Frank Lloyd Wright built, Fallingwater near Mill Run, Pennsylvania, or a few nights in the Willa Cather room at the Mabel Dodge Luhan House (did you know ybonesy’s dad worked there one summer as a teenager?) in Taos, New Mexico. We had one red Ravine Guest who dreamed about the home of Frida Kahlo. It was such a powerful experience, she felt compelled to travel to Mexico and see it for herself.

Why? Because Place matters. Ground where writers, painters, architects, artists and visionaries lived, worked, and died matters. The places we call Home shape who we are, who we want to be, who we will become. North, South, East, or West, the geography of land, water, and sky influences our work, filters into our vision, helps us hone our craft, whether we are aware of it or not. And the preservation of these places is paramount to our own development as writers and artists.

While researching On Providence, Old Journals and Thoreau, I stumbled on the Walden Woods Project which was founded in 1990 by recording artist Don Henley. At the time, 60% of Walden Woods – a 2,680 acre ecosystem surrounding Thoreau’s Walden Pond – was protected from development. But two large tracts of land were endangered when developers sought to construct an expansive office and condominium complex in the mid-1980s. The National Trust for Historic Preservation twice listed Walden Woods as one of America’s Eleven Most Endangered Historic Places.

But the story has a happy ending. The Walden Woods Project embarked on a national campaign to raise public awareness and the funds necessary to purchase and preserve the endangered areas. In January 1991, the Project bought the 25-acre tract that had been slated for the development; a few years later, the second tract of land was acquired. Since then, they’ve protected 150 acres in and around Walden Woods and provided quality programming for hundreds of researchers and more than 200 high school teachers and students.

I’ve walked around Walden Pond, stood in the doorway to Thoreau’s cabin. I’ve been to Hibbing, Minnesota, in the living room of Bob Dylan’s childhood home. And a few years ago, ybonesy and I took a day trip to Kiowa, the D. H. Lawrence Ranch outside of Taos, New Mexico. The place was given to Lawrence and Frieda by Mabel Dodge Luhan. Dorothy Brett lived there for a time using Aldous Huxley’s typewriter to type Lawrence’s manuscripts.

Georgia O’Keeffe sat under the giant pine outside the Lawrence cabin and immortalized it in paint forever. Would you rather read about the Lawrence Tree? Or touch its barky skin, slide your feet through the pine needle beds beneath it, stare upside down at the New Mexico stars and sky.

To be able to go back to the place a writer or artist worked and lived is an inspiration. The authors calling attention to Mark Twain’s home in Hartford are sounding the alarm. Not everyone has the resources to donate money, but we can all work to raise awareness by spreading the word. Or visit the homes of writers and artists in the areas where we live and travel.

Those who blazed the trail before us are our mentors. For Jon Clinch, it’s Mark Twain. He’s willing to donate time, money, and energy to save Twain’s home and preserve the literary legacy of place. Who is it for you?

The Mark Twain House & Museum
351 Farmington Avenue
Hartford, CT 06105
860-247-0998

Other links to explore:

• Jon Clinch’s Website — bio and link to podcast of Finding Finn
• Writing the Story of Huck Finn’s Father — NPR piece on Jon Clinch
• Huck Finn’s Father — NPR piece on Jon Clinch and Finn
• Excerpt from Finn by Jon Clinch on NPR – print excerpt from Finn
• Richard Henzel as Mark Twain — filmed at the Mark Twain Home in Hartford, Connecticut
• Mark Twain’s Home May Close — NPR story on possible closing of Mark Twain’s Hartford home
• History of the Mark Twain House – history of Twain’s Connecticut home (he had one of the first telephones installed in a private home!)

-posted on red Ravine, Friday, October 24th, 2008

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haiku for the years

Taos Mountain, behind the Mabel Dodge Luhan House, Taos, New Mexico, February 2007, photo © 2007-2008 by QuoinMonkey. All rights reserved.

thousands of years pass
summer, winter, spring, and fall
where mountain meets sky

-posted on red Ravine, Thursday, October 23rd, 2008

-related to post: haiku (one-a-day)

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Thunder Moon haiku (July)

Bay Street Blues, Savannah, Georgia, July 2008, photo © 2008 by QuoinMonkey. All rights reserved.

mask of summer tears
moon over Pennsylvania
sinks into rivers

dark moss covered squares
Savannah moon cloud cover
drapes soldiers and kings

laughter on Bay Street
rattles cobblestone cameras
hmmm, River Street sweets

Augusta new moon
throws heavy arms around me
clean beads of rain sweat

mother-daughter light
since the beginning of time
July Thunder Moon

Full Moon In The Pines, Moon River, MoonPie In Georgia, Moon Under Savannah, Savannah, Augusta, all places in-between, Georgia, July 2008, all photos © 2008 by QuoinMonkey. All rights reserved.

-posted on red Ravine, Friday, August 8th, 2008

-related to posts: savannah river haiku, haiku for the live oak, haiku (one-a-day)

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Taos Mountain Haiku

 

Taos Mountain In Summer, July 2007, behind Mabel Dodge Luhan House, Taos, New Mexico, photo © 2007 by QuoinMonkey. All rights reserved.

Taos Mountain summer
wraps hard rain around soft bows
I’m drenched to the bone

black clouds in blue sky
slatted swing over the ditch
creaks slowly, I write

rain crawls through roof cracks
gusts blow open my notebook
words scatter to wind

cottonwood splashes
through the lens, afternoon rain
breaks open the sky

end of a long day
in the middle of summer
I start to wake up

green sky through laced glass
and a mourning dove’s red eye
swallows the noon sun

walking the back path
Mabel smiles from the window
I wink and then nod

black spider shimmers
cottonwood squeezes soft wind
through a glistening web

sweat drips from my arm
I don’t sit like the mountain
the sun sits on me

Lawrence and Brett stroke
painted windows in the light
camel hair bristles

the Pink House once held
summer rain, live wires that dodge
breakfast at Mabel’s

fancy dancers run
lightning drips through the pow wow
under Taos Mountain

Monday, July 16th, 2007

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Goodbye To Old Missoula

For 8 years I lived in a sleepy little western town called Missoula. I was 22 when I arrived, 30 when I left. In between, I was a dental tool sharpener at American Dental on Reserve Street (now defunct), a clerk at a Husky gas station behind Ruby’s Cafe (on the strip near Malfunction Junction), and a student at the University of Montana where I took one of my first black and white photography classes, soon to be followed by my first Women’s Studies class.

Near the end of my time in Missoula, I suddenly found myself unemployed when I got so sick and tired of all the crap on the job (I was the only woman) that I quit on the spot, walked out of the dental tool sharpening profession forever. I got in a lot of trouble for that. We were trying to save money to move away. But I was just plain done spending 8 hours a day grinding blunt-tipped metal into precision instruments of pain.

When I lived in Montana, I identified with Montana. This was Big Sky Country. I wore flannel shirts and Levi’s and hiking boots (like most all the women there did at that time). I hiked the steep winding curves of the Bitterroots and camped with friends near remote, one-room fire towers made of glass. Jobs were scarce and many of my friends worked summers on fire crews with the U.S. Forest Service. In the winters, I ironed, corked, and waxed my cross country skies (the color of the wax depended on how wet the snow was) and once took a hot air balloon ride at 5am over mile-high mountains.

I was happy in Missoula. The minute I stepped off the plane (on to what was then Johnson-Bell Field) I knew I loved it there. It was laid back and liberal. (Does anyone use those words anymore?) With the exception of the winter inversions, it was a pretty happy place to be.

I’d spend hours writing in journals, taking wildflower walks up the Rattlesnake Canyon, scraping bark off of giant Ponderosa pines for my friends who were hand building log cabins in the Bitterroots and up the Blackfoot. I felt like I belonged, like I was a part of something that felt like home. It was home for the longest time.

Eventually, I found a girlfriend and settled down. We stayed together a long, long time. And when the town became too small, and the time came to move on, we packed up everything we owned, rented a 50 foot U-Haul, and pulled our 22 boxes of vintage albums, 7 boxes of rocks and minerals, 2 cats, and 1 red Subaru wagon across the Rockies and the Dakotas and into Minnesota.

For the first five years I lived in the Minnesota, my number one goal was to move back to Montana. I missed the tall, grounded mountains. I missed my friends. I missed the slow pace and the way everyone knew everyone else. I missed tumbling down the Blackfoot River in yellow rubber rafts and hanging with men and women who seemed to really know what it meant to live off the land.

But then something happened. I started to mold to the sturdy independence and protective Midwestern resolve. I began to value the way the arts were supported, and the lakes and rivers were the cleanest in the country, and the neat rows of houses and gridded streets formed nice straight patterns I could follow on a map.

I learned to love stoicism, The Loft, the Walker, and the Minneapolis Institute of Arts (but never quite took a liking to hotdish or Rice Krispie treats). I traded the vastness of Lake Superior for the rounded glacial peeks surrounding the five valley area of Missoula.

This place changed me. And I let it. It’s been 23 years. I finally stopped telling everyone I was going to move back out West. And settled in – to me. But I still miss Montana. And once in a while, I break out in that Willis Alan Ramsey song, Goodbye Old Missoula. If you know the one I mean, maybe Missoula is one of your secret places, too.

Goodbye Old Missoula
by Willis Alan Ramsey

Searchin’ for the sunlight
On this winter’s day
But here in ol’ Missoula

They’ve thrown the sun away
Come tomorrow morning
I’m headed for the Bozeman Round

And it’s goodbye to ol’ Missoula
sleepy town

I met a girl named Rosie
Sweet as she could be
But I guess that Rosie
She didn’t have eyes for me

Time waits for no one
Lord, why did I hesitate
And it’s goodbye to ol’ Missoula
a day too late

Clouds that hang on the mountain
They make me lonesome inside
And these four walls surround me
Leaving no place to hide

Goodbye Rosie you’ll never know
Time tells, my love will pass
But if I just remember your smilin’ face
That’s all of time that I ask

Show in this town is over
Maybe just never began
And it’s goodbye to ol’ Missoula
done all that I can

And it’s goodbye to ol’ Missoula
goodbye to ol’ Missoula
goodbye to ol’ Missoula
Sleepy town

Tuesday, May 15th, 2007

-related to Topic post: WRITING TOPIC – A PLACE TO STAND

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