The Poets’ Birds: Robins

Proust had his madeleines. I have my robins.

The murmuring of robins evokes for me a quieter, more gracious world: childhood summers filled with the soft, shallow breathing of curtains at the window; faint scents of spirea and lilac; quiet, melodic wisps of song as parents encourage their nestlings toward sleep.

Baby robins wait for worms in Mena, Arkansas

Robins migrating through Texas will call to one another from the treetops, or create a tell-tale rustling of leaves as they search out insects and fruit in wooded areas, but coastal dwellers rarely hear this thrush’s song.

Last week, after sighting a first robin in Muskogee, Oklahoma, I luxuriated in their calls and songs as I traveled through Missouri and Arkansas. Occasionally, amused but sympathetic, I moved away so that parents could feed their babies.

The babies’ parent with a worm, nicely turned

The nature of robins — their cheerfulness, their industry, their almost self-effacing demeanor — helps to make them delightful icons of midwestern life. The trill of the corn-clinging blackbird might be more obvious; the rush of air past a nighthawk’s wings more dramatic; but the dependable robins are the ones whose song begins and ends the day.

Mary Oliver, born in Maple Heights, Ohio and a resident of Camden, Maine as a teenager, certainly heard the robin’s song throughout her formative years. But she more than heard it; she experienced, internalized, and reshaped the song, returning it to us here in soft, solemn, and perfect words that honor the well-loved bird.

 

It was spring
and I finally heard him
among the first leaves––
then I saw him clutching the limb

in an island of shade
with his red-brown feathers
all trim and neat for the new year.
First, I stood still

and thought of nothing.
Then I began to listen.
Then I was filled with gladness––
and that’s when it happened,

when I seemed to float,
to be, myself, a wing or a tree––
and I began to understand
what the bird was saying,

and the sands in the glass
stopped
for a pure white moment
while gravity sprinkled upward

like rain, rising,
and in fact
it became difficult to tell just what it was that was singing––
it was the thrush for sure, but it seemed

not a single thrush, but himself, and all his brothers,
and also the trees around them,
as well as the gliding, long-tailed clouds
in the perfect blue sky–––all of them

were singing.
And, of course, so it seemed,
so was I.
Such soft and solemn and perfect music doesn’t last

For more than a few moments.
It’s one of those magical places wise people
like to talk about.
One of the things they say about it, that is true,

is that, once you’ve been there,
you’re there forever.
Listen, everyone has a chance.
Is it spring, is it morning?

Are there trees near you,
and does your own soul need comforting?
Quick, then––open the door and fly on your heavy feet; the song
may already be drifting away.

                           “Such Singing in the Wild Branches” ~ Mary Oliver

Comments always are welcome.

 

The Crab Whisperer

Were those white fragments made of paper, styrofoam, or plastic?

As I worked my way along the slough’s edge, bits of scattered trash compelled my attention as much as the grasses and birds surrounding me. Odd and out of place in an environment where signs of human presence are uncommon, their colors suggested packaging of some sort, although the combination of white, blue, and orange didn’t bring a specific fast-food franchise to mind.

Wading out into the water for a closer look, I found the trash wasn’t plastic or paper at all, but remnants of another sort of dinner — not to mention evidence of diners no more inclined than certain humans to clean up after themselves.

Scattered blue crab shells and multitudes of footprints belonging to raccoons and wading birds made clear that I’d stumbled across one of the most popular restaurants in the neighborhood. Some shells might have washed ashore after the completion of their owners’ molting process, but others clearly had been broken and gnawed at by hungry creatures looking for an easy meal.

Claws and shell of the blue crab  ~ Callinectes sapidus
The scientific name means “beautiful, savory swimmer”

Given the number of body parts scattered about, I realized that more crabs surely were hidden away in the shallows. Being able to see one of the savory creatures swimming in its natural environment appealed, but my lack of a chicken neck and a string made even that low-tech way of attracting a crab impossible.

Then, I remembered the old man. Bent over the railing of a rickety dock when I spotted him on a local bayou, he acknowledged my presence without looking up. “Howdy,” he said. Following his gaze down to the water, I saw nothing more than smooth slickness and a hint of current. “Fishing?” I asked. “Naw,” he said. “Crabbing. See the line?”

Then, I saw it. The heavy twine, common as any found in a multitude of garages and storage sheds, hung perfectly straight, as though weighted. “What’s your bait?” I asked. “Chicken,” he said. “Got a neck on there now. Any part’s good. Legs. Liver. Turkey necks, too. Some use fish heads, but they’re better for a trap. For a hand line, I’d say chicken and turkey’s best.”

We stood for several minutes, staring at the line. Clearly, crabbing required patience. “What if you don’t get a bite?” I asked. “Well,” he said, “I might just set a spell in the shade, and then try again.”

Wishing him luck, I turned to leave, but stopped when he called out. “Just remember,” he said, “there’s one trick’ll guarantee you a good catch.” Curious, I waited to hear more. Grinning, he said, “If nothin’ else works, make a noise like a chicken neck.”

Crabbing Central

I’d always thought he was making a joke — perhaps even poking a bit of fun at me — until I sloshed my way back to dry land and stood staring into what I assumed to be crab-infested water. How do you make a noise like a chicken neck?  I thought. Chicken necks don’t make noise.

Then, it occurred to me. Maybe that’s what he meant.

Deciding to test the theory, I sat down on the bank and waited. Silent and still for five minutes; then ten; then fifteen, I heard nothing more than a faint clacking of dried reeds as the riffling of tidal flow moved across the flats.

Then, a stirring of silt and a faint gleam of color caught my eye as a crab emerged from beneath the broken reeds. In the brackish water, its colors were dull and its outline blurred, but there was no question it was heading toward land. Whether it would join me on the bank, I didn’t know.

Soon enough, the question was answered. Both male and female crabs began crawling onto the land: males recognizable by their blue claws, and females by the red-tipped claws that suggest they found the bottle of fingernail polish.

Unmoving, hardly daring to breathe, I watched them settle onto the sun-warmed mud, acting for all the world like vacationers jostling for the best poolside deck chairs.

I had little doubt they were aware of me. Compound eyes on long stalks allow them to see in multiple directions at once, and any movement on my part seemed to freeze them in place. When I stopped moving, all was well, and they returned to whatever it was they were doing before I so rudely interrupted them.

Finally, one of the more courageous females came close, perhaps to assess the strange creature sharing her mudflat. Tired of sitting and needing to stretch, I decided to talk to her.

“You’re darned classy,” I said, “with the prettiest claws in the bunch. I’m glad you crawled up here so I could see you.” No more chatty than the old crabber who’d suggested I imitate a chicken neck, she didn’t say a word. But she posed for another photo, and I swear I saw her smile.

 

Comments always are welcome. Click here for more information about blue crabs, provided by Texas Parks and Wildlife.

 

The Poets’ Birds: Mockingbird

Northern Mockingbird  (Mimus polyglottos) on Galveston Island

My mother noticed the sound first, drawing my attention to it with a question. “How do you suppose a duck got up on the roof?”

Surprised, I looked around. “Duck? Where do you see a duck?”  “I don’t see a duck,” she said. “I hear a duck.” Listening, I realized she was right. The duck’s quacking, loud and insistent, seemed to be coming from above — if not from the roof, then from one of the overhanging trees.

Of course ducks fly, but we lived among mallards, and I’d never seen one perch higher than ground-level. Intrigued, I followed the sound. Caught up in a racket of its own making, the bird never moved, making it easy to spot. “Look at this,” I said. “Someone’s been hanging out around the water.”

It was a mockingbird on a corner of the roof, engaged in a pitch-perfect imitation of our local mallards. Rather than changing its song from time to time, as mockingbirds do, it simply quacked on, perhaps so delighted with its new ability it couldn’t bring itself to stop.

 
Eventually our amusement faded, but in the coming weeks and months I found myself listening to mockingbirds more closely, picking out snippets of other birds’ calls and songs from their repertoire.

Then, three years ago, a particularly enthusiastic singer moved into my neighborhood. He sang at dawn, and he sang at sunset; he sang at noon and, rather remarkably, he sang at midnight. I thought his night-singing an anomaly until I read this, in the Audubon Field Guide:

 This bird’s famous song, with its varied repetitions and artful imitations, is heard all day during nesting season (and often all night as well).

There’s no way to prove that the same bird has been singing outside my window for three years, but it can’t be denied that he always chooses the same palm tree, and no matter how much singing he’s done, he always begins again between 3 and 4 a.m.

Because of the way the buildings are placed, they seem to amplify his sound, increasing the volume to such a degree that even closed windows are no defense.

After recently being sung awake three nights in a row with no practical way to silence the bird — or any real desire to do so — I decided to add the mockingbird to my series of poets’ birds. This time, I wrote the poem, smiling all the while.

Pleased
to trill
in darkness,
mocking heron
and mallard alike,
the impudent singer
stretches and preens for a still
unseen mate: improvised warbles,
chirrups, and peeps enticing the world
to his sweet-feathered, palm-hidden presence.

 

Comments always are welcome.

For more information on the Etheree, a syllabic poem that, in its basic form, contains ten lines and a total of fifty-five syllables, please click here.

On Not Being Late To The Party

Late winter wetlands

As lingering autumn wildflowers succumb to January frost; as grasses shrivel and shred; as trees offer up their branches to importunate winds from the north and are rendered bare, a certain impatience begins to stir.

Winter is winter, after all, and bland, monochromatic landscapes can oppress the spirit as surely as long months of ice and snow. When fog insists on shrouding those same landscapes and gray, glowering skies refuse to lighten, questions inevitably arise: how long will it be until we see the change we long for? How long must we wait until this gray, dismal time gives way to spring?

Taking The De Longpré View

“Pansies in a Pewter Vase” ~ Paul de Longpré

Tough and resilient, pansies bring a welcome touch of color to winter on the Texas coast. Beloved of landscapers and gardeners alike, the flowers tolerate cold, snow, and ice; even after days of freezing temperatures they recover quickly, and will bloom until the rising heat of summer wilts them away.

Some pansies, of course, never fade. Many years ago, I found a Paul de Longpré watercolor, “Pansies In A Pewter Vase,” at an estate sale. Entranced by the combination of pretty flowers and a beautifully constructed wooden frame, I brought the piece home, and hung it near my desk. Eventually, the artful signature led me to wonder: Who was this de Longpré fellow?

The Poets’ Birds: Vultures

Turkey vultures (Cathartes aura) ~ Brazoria Wildlife Refuge

There’s nothing unusual about seeing vultures in Texas, but a pair of turkey vultures taking the sun on a gently disintegrating windmill seemed worth the stop.

By the time I’d stepped out of the car, one of the birds already was giving me the side-eye. The reason for his attention was obvious; if I were going to expire on the side of the road, he didn’t want to miss an easy meal.

His cautious but coolly calculating expression amused me immensely. There on the spot, I composed a bit of verse for him:

The vulture high atop his tree
will look and look  – what does he see?
Of course he’d like to eat for free;
I hope he doesn’t relish me!

Occasionally a website or tabloid will try to pull in readers with an attack-vulture story, but vultures aren’t designed to attack human beings. Several species, including the turkey vulture, will eat small, live prey from time to time, but they’ve evolved to feed primarily on carrion, and help to keep the environment clean by ridding it of dead animals. 

Still, their habits elicit a certain revulsion, and occasionally an almost superstitious reaction. “Don’t stop walking,” an old Texas rancher once said to me. “You don’t want to tempt them.”

 

In a poem he titled “Vulture,” Robinson Jeffers (1887–1962) imagines what it would be like to stop walking, and tempt such a bird.

Jeffers promoted a philosophy he called “inhumanism” — a view of things in which nature “not only serves as a backdrop for verse,  but animals and natural objects frequently are compared to man, with man shown to be the inferior.” It’s a perspective that influenced other California poets, such as Gary Snyder, and although the “merging with nature” that Jeffers imagines here is less sentimental and far more graphic than that portrayed in many poems, it certainly is memorable. I suspect my vultures would like it.

 

I had walked since dawn and lay down to rest on a bare hillside
Above the ocean. I saw through half-shut eyelids a vulture wheeling
high up in heaven,
And presently it passed again, but lower and nearer, its orbit
narrowing.
I understood then
That I was under inspection. I lay death-still and heard the flight-
feathers
Whistle above me and make their circle and come nearer.
I could see the naked red head between the great wings
Bear downward, staring. I said, ‘My dear bird, we are wasting time
here.
These old bones will still work; they are not for you.’ But how
beautiful
he looked, gliding down
On those great sails; how beautiful he looked, veering away in the
sea-light
over the precipice. I tell you solemnly
That I was sorry to have disappointed him. To be eaten by that beak
and
become part of him, to share those wings and those eyes–
What a sublime end of one’s body, what an enskyment; what a life
after death.

 

 

Comments always are welcome.

 

The Poets Birds: Crested Caracara

Crested Caracaras (Caracara cheriway) taking the sun at the Brazoria Wildlife Refuge

Despite neither appearing nor behaving precisely like a falcon, the crested caracara is considered a member of the falcon family. Resident in Florida, Texas, and Arizona, its range extends southward through Mexico into tropical areas of Central and South America. Its name, Caracara, may be an anglicization of the Guarani Indian traro-traro: an imitation of the unusual rattling sound the bird makes when agitated.

Often referred to as a Mexican eagle, the caracara is thought to be the bird originally depicted on the national emblem and flag of Mexico before being replaced by the golden eagle.