That title will make sense by the time we’ve come to the end of this entry. I’m going to quote first here from a wonderful comment that came into the blog today from Shieldmaiden. (You should definitely go back to the two previous entries, “Trees” and “Dark Doorways,” to read the latest reader comments! It seems there are often a few that come in just before I post a new entry, and I don’t want anyone to miss these extraordinary contributions from readers. In every way this is our blog, not just mine. Be sure to revisit the comments to “Trees” as well as “Dark Doorways”!) So, anyway, quoting from Shieldmaiden:
“Speaking of dark or magic doorways I don’t think it gets any more magical than the picture I saw on one of the blog posts last summer. The one of an old gate leaning against the trunks of maples and partially swallowed by their trunks. I couldn’t help but imagine that on a certain midsummer night when the moonlight fell just right, and several other elements lined up, that the gate would swing open and when you went through it you would step into an enchanted forest of another world.”
Eeeee! Shieldmaiden, I hope you’ll let me use that in a story someday! That picture is the new header for the blog, but since I change headers from time to time, I’ll include it here, too:
This old gate has been here for as long as I can remember. It's just behind our house in Taylorville, facing south toward the Big Woods.
Now I’m going to quote again from The Green and Ancient Light, that unpublished, homemade book of vignettes and recollections from my childhood, printed in September of 1990:
“Beneath the living blanket of green leafy vines was a barn. Down among the roots of the high weeds going to seed were bricks and a concrete slab. At the heart of the hedgerow was a rusting fence, hardly recognizable as such. Only a nail and a chain remained, dangling against the peeling bark, of some iron thing the maple tree had swallowed years ago.
“This relentless march of the sprouting, encircling, all-consuming Earth is essential in understanding my childhood. Nature guarded its secrets well, its rough-edged relics of days gone by; they were tucked away in shady, whispering hollow places where only the folk of the hedgerows could readily find them, the cat and the rabbit, the dog with his nose to the dewy ground, the sleepy opossum, the raccoon with his humanlike hands. These folk climbed over and around the treasures in the gloomy hedgeheart — the forgotten gate leaned against the young maples, its boards bleached and bone-hard, its metal fastenings eaten with rust; the roll of fencing behind the tin shed, half-sunk in the earth, down between the treetrunks, a tunnel for foxes and a rusty trampoline for little boys; the mysterious odds and ends of glass and tarpaper, the dimly-remembered toys of earliest childhood, sheltering now beneath the dusky hillocks of the grass; the several corroded things in the delightful hollows of the man-made cliff behind the cellar.
“All these things and a thousand more called out to two little boys, called out in voices soft and mellow as ripened rust, orange in the hot light, dark amber in the sunset; the grasses called out, their blades in the wind, their roots probing into matters. The world of passage and change called out, the world of transformation and chemical reaction, of unbecoming and becoming: ‘Come and see, boys; come and find. Discover in these green depths the things that once were, the things you lost five summers ago, the things your grandfathers’ compatriots built forty years ago; see what is now, how undauntedly nature takes your ball and runs with it, how it takes all your ideas and improves them, and goes on; and, boys, carry with you from this secret world these purposefully-formed seeds of things that may be.'”
I honestly think that a huge part of my writing is a giving back of the gifts I absorbed from the green world around me in my childhood. A Cricket editor’s comment that I particularly cherish was: “Your memory for detail is phenomenal: you sit in Japan and write lovingly about small-town life in Illinois.”
Anyway, while we’re speaking of the magic of trees and doorways, certainly this tendency of nature to advance and absorb and reclaim the objects of human construction is a worthy subtopic — it has always been a large part of the enchantment for me.
Again, I remember illustrations from a book of fairy stories I had when I was very young (and still have — I know right where it is, though it’s deeply buried in storage). It was a tattered old book that a library was throwing away. My mom the librarian would rescue such castoffs for me, and sometimes they became the greatest treasures of my own library. It didn’t even have a cover. But I remember a beautiful two-page panoramic color painting of a meadow; and half-hidden here and there among the tussocks of long grass were sleepy rabbits in their burrows, rusted swords, crocks of golden coins, and probably a fairy or two — the last time I saw it was several years ago.
But that picture expresses a wonder that I suspect is common to many of us. I remember my childhood fascination with objects overgrown, things half-buried, items long-forgotten and vine-clad and sinking into the ground. I don’t know why the phenomenon was so enthralling to me.
This bicycle beside a wooded path on Niigata University's campus has been welcomed and given a place.
In the north wall of our barn, there were some closed hatchways or windows covered over by Virginia creeper vines. Piles of stone were soon overrun by weeds. Farm implements parked and abandoned sank into the embrace of nature.
As a college student, I was captivated by these lines from Philip Levine’s “They Feed They Lion”:
“Earth is eating trees, fence posts,
Gutted cars, earth is calling her little ones,
‘Come home, come home!'”
And here are three more poems that I think speak to this same theme, each in its own way:
“The Presence,” by Maxine Kumin:
Something went crabwise
across the snow this morning.
Something went hard and slow
over our hayfield.
It could have been a raccoon
lugging a knapsack,
it could have been a porcupine
carrying a tennis racket,
it could have been something
supple as a red fox
dragging the squawk and spatter
of a crippled woodcock.
Ten knuckles underground
those bones are seeds now
pure as baby teeth
lined up in the burrow.
I cross on snowshoes
cunningly woven from
the skin and sinews of
something else that went before.
The next one I remember singing in a choral arrangement in an all-state chorus festival when I was in junior high or high school — performed by a huge choir made up of kids from all over the state. The poem itself was written and published during World War II by Thomas Hornsby Ferril, and it’s called “No Mark”:
Corn grew where the corn was spilled
In the wreck where Casey Jones was killed,
Scrub-oak grows and sassafras
Around the shady stone you pass
To show where Stonewall Jackson fell
That Saturday at Chancellorsville,
And soapweed bayonets are steeled
Across the Custer battlefield;
But where you die the sky is black
A little while with cracking flak,
Then ocean closes very still
Above your skull that held our will.
O swing away, white gull, white gull;
Evening star, be beautiful.
That is an awesome poem! Do you see how it’s precisely to the point of this discussion? Finally, this next one comes to us courtesy of this blog’s own Catherine, who tracked down the words for me. It’s the old Scottish poem “Twa Corbies,” or “Two Ravens”:
As I was walking all alane
I heard twa corbies makin’ mane [making a moan]
And one ontae the other did say
Where will we gang and dine the day,
Where will we gang and dine the day?
In ahind yon oul fail dyke
I wot there lies a new slain knight
Naebody kens that he lies there
But his hawk and hound and his lady fair,
His hawk and hound and his lady fair.
His hawk is tae the hunting gane,
His hound to bring a wild fowl hane [home],
His wife has taken another mate,
So we can make our dinner sweet,
We can make our dinner sweet.
And you can sit on his white breast bone,
And I’ll pick out his bonny blue e’en,
And with a lock of his yellow hair
We’ll theek our nest when it grows bare,
We’ll theek our nest when it grows bare.
And many’s a one for him makes mane;
Naebody kens where he has gane;
Through his white bones when they grow bare
The wind shall blow forever mare,
The wind shall blow forever mare.
Three diverse poems, but I submit they’re all really talking about the same things. Do you agree? And yes, I have a poem of my own to toss into the pot. This is my own version of the same theme — a poem I think I’ve alluded to on this blog but have never quoted in full. So here it is: “Glory Day,” by Frederic S. Durbin:
We found the old cat one hot Glory Day
In the steamy weeds, swelled to twice his size;
Green glory thunder echoed in his eyes
As we laid him out where the smell of hay
And green maple shadows would make the flies
Forget him; and watching the heat waves rise
From the wind-mirroring beans we covered him with clay.
There was lightning low in the sky away
Off, and a distant rumbling down the road;
The Virginia Creeper whispered to the wagon
It covered like time-snails’ tracks, the old load
Of bricks for building; something like a dragon
Crawled south in the blur of wheat’s golden sway
When we buried a tomcat on Glory Day.
As one of my two favorite professors would say, when he finished reading a poem aloud to the class, “How do you like them apples?” I’d love to hear your analyses of the poem — of what precisely the “something like a dragon” is. Any takers? (You won’t be wrong, I expect.) [The poem’s a sonnet, by the way!]
So, well, well, this theme of nature’s reclamation of objects is large in my mind this week because it’s such a key element of the book I’m writing now. (Since it’s passed 25,000 words, I’m just going to start calling it a “book” instead of a “story.” I think it will likely hit the minimum novel requirement of 50,000 before all is said and done.)
Here's my AlphaSmart Neo on my favorite bench on the Lavender Path. I've had some success lately with writing outdoors using this dear gem of a machine.
That book is still going well, by grace! On Thursday, I had the most productive day on this project so far, with 2,858 words written! On Friday I did 1,909, which is still ahead of a NaNoWriMo quota count. Today, Saturday, I was fixing earlier things, so didn’t make any forward progress. I spent a long stretch revising one seven-line poem that plays a crucial part. So it goes, in fits and spurts. . . .
Here’s one more poem of mine [still on the subject — no disbursements to the Pun Fund], written [I think] during my college years, though possibly right after I came to Japan. I’m not really advocating paganism; it’s more just a statement that humankind’s impact on the created natural world is temporal and transient:
In the rainy end of days the satyrs
Came and rolled on spools the broken wires,
Rekindled the old infernal fires,
And scooped clean soil over oily matters.
Heh, heh, heh! Yeah, I was going through a Lord Dunsany period. I think he had some similar ideas, didn’t he?
As I’m wrapping up here: I just received my copy of the May/June Cricket, and I was thrilled and delighted to see a letter and photograph from The Die-Hard Star-Shard Fan Club! Here are my heartfelt thanks to those readers and their parents! This issue of Cricket is one I’ll treasure. I think I’ll make a good color photocopy of the letters page and keep it in a picture frame! There are several letters that mention “The Star Shard,” and also in the back, the winners of the Urrmsh song poetry contest are printed — so even though the story finished in the April issue, we really need this May/June issue to complete “The Star Shard” Cricket collection!
I’m still listening to Enya. I have two of her CDs now: The Celts and Paint the Sky with Stars: The Best of Enya. Really wonderful. Also, I saw the new Star Trek for the second time tonight.
I’ll let some visual images close this posting out:
Bicycles at Niigata University: Hmm, where did I park it? Oh, yeah! -- Mine's the silvery one!
Cupid, the supermarket where I buy most of my groceries. As my other favorite college prof made us say at the beginning of every class: "Mythology is alive; mythology is ubiquitous."
United Cinemas, the theater complex that's about a five-minute walk from my place.
Talk about dark doorways into worlds of enchantment! This is the portal I walk through to see movies: it leads to infinite worlds!
Finally, this is along the Lavender Path. This is a truck bed, parked so that it's sticking over a weed-grown drainage ditch. The truck seems not to have been moved in a very long time. Wouldn't you love to set up a writing house in that truck bed?! Well, I would, anyway. . . .