Accustomed to the sight of sphinx moths among her flowers, a friend never thought to point out the one flitting and sipping its way through the evening primroses that had slipped under the fence and into her garden. “Look!” I said.”A hummingbird!” Amused, she corrected my mistake. “It’s not a hummingbird, it’s a moth. People call them hummingbird moths, or hawk-moths, because of the way they hover. See if you can get a picture of it.” Continue reading
Solitary, quiet, the dove lingers: perhaps one of the pair that tended their nest in a nearby palm, or perhaps even their youngster, satisfied with the neighborhood and unwilling to leave.
Mornings, it comes for water. Evenings, as pigeons roost in a flurry of wings and the sun lowers toward the horizon, it reappears on my railing, content to bask in the evening’s glow until darkness compels it home. Continue reading
Around mid-summer, Arkansas wineberries begin to ripen. Prickly tangles of fruit and vines native to China, Korea, and Japan, the wineberry (Rubus phoenicolasius) arrived in the United States around 1890. Intended for use as breeding stock for new varieties of raspberries and blackberries, the plant’s beautiful red canes soon were planted as ornamentals as well. Perhaps inevitably, the wineberry escaped cultivation and began spreading through the wilds of North America. Continue reading
The earliest settlers in the Ouachita Mountains of Arkansas arrived about 1830, traveling primarily from the mountains of Tennessee, Kentucky, and northern Georgia into the area’s fertile, if remote and isolated, river valleys.
In time, some left the valleys for higher elevations. The long, even crest of Rich Mountain, named for its uncommonly rich soil, was especially appealing. Wide enough to accommodate homes, small fields, and garden patches, it combined fertile soil with a multitude of springs bubbling just below the ridge. Aileen McWilliam, herself a child of the Ouachitas and a historian of Rich Mountain, recalled:
[The soil was] in some places so deep that the rocks gave little trouble, and so loose that it required little tillage. A small pocket of soil among rocks could be planted by using only a hoe to make a depression for a few seeds. The atmosphere was conducive to the growth of lush vegetable crops.
Though the growing season is relatively short, growth is rapid, and the winds and cold temperatures of the moutaintop hold back the fruit tree buds that in the valley come out too early, and are nipped by frosts.
While herons and robins, egrets and larks receive multitudes of mentions in poetry — if not complete poems written in their honor — other birds seem to be ignored. Walter de la Mare wrote about the spotted flycatcher, and Nissim Ezekiel memorialized an unfortunate paradise flycatcher, but the scissor-tailed flycatcher, sometimes known as the Texas bird of paradise, has no well-known poem to call its own.
On the other hand, one typical behavior of our flycatcher — the tendency to perch on power lines or barbed wire fences while scanning for prey — has been written about. In what may be her best-known poem, Emily Dickinson takes the perching bird as her controlling metaphor, and expands on it delightfully.
Hope is the thing with feathers
That perches in the soul,
And sings the tune without the words,
And never stops at all.
And sweetest in the gale is heard;
And sore must be the storm
That could abash the little bird
That kept so many warm.
I’ve heard it in the chillest land,
And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.
~ Emily Dickinson
Comments always are welcome. For more information about the scissor-tailed flycatcher (which happens to be the state bird of Oklahoma), please click here.
I suspect each of us has experienced the ability of a song to transport us back in time to a particularly memorable place or experience. The driving beat of John Stewart’s “Gold” will do it for me, as will Springsteen’s “Dancing In The Dark,” Enya’s “Orinoco Flow,” or The Sweet Talks’ Afro-Funk gem, “Akumpaye.”
But more than songs enliven memory. When an especially sharp, clear rendition of reveille caught my attention at work one recent morning, I turned to find its source. A group of teenagers from that week’s sailing camp had gathered around the yacht club’s flagpole. With reveille concluded, the national anthem began, and hands went to hearts as they watched the American flag being raised.
Had I discovered this small, straightforward painting hanging in a gallery, I doubt that I would have recognized it as the work of Georgia O’Keeffe: an artist I generally associate with big flowers, big buildings, and big landscapes.
Today, I know that O’Keeffe created My Shanty almost on a whim — as a bit of sly commentary, or even as an artist’s practical joke — but that knowledge doesn’t make her story of its genesis any less delightful.
The clean clear colors [of a Lake George shanty] were in my head. But one day as I looked at the brown burned wood of the shanty, I thought, ‘I can paint one of those dismal-colored paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree beside the door.’
In my next show, ‘The Shanty’ went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint. That was my only low-toned, dismal-colored painting.
As her trust in her intuitions developed and her methods matured, her observations grew more trenchant. Continue reading