White-faced ibis (Plegadis chihi) ~ Brazoria County, Texas
(Click image for more detail)
Despite his prolific output and the award of a Nobel Prize in 1971, I’ve only recently come to appreciate the work of Chilean poet Pablo Neruda. Despite decades of acclaim for his poetry, publications in English represent only a small portion of his oeuvre, apparently due in part to the difficulties of translation; I simply hadn’t come across them until I found them on the internet.
The details of Neruda’s life are fascinating. A committed Communist and political activist, he returned to Chile in 1953, following some years in exile. Eventually, he began producing less ideologically influenced love poetry, as well as nature poetry celebrating every aspect of the world in which we live.
In their book Earth Tones: The Poetry of Pablo Neruda, Manuel Duran and Margery Safir note that Neruda began trying to speak to everyday people simply and clearly, on a level that anyone could understand. In his examination of quite common, everyday things, they say, “Neruda gives us time to examine a particular plant, a stone, a flower, a bird, an aspect of modern life, at leisure. We look at the object, handle it, turn it around, all the sides are examined with love, care, attention. This is, in many ways, Neruda at his best.”
In his poem “Bird,” he offers his attention to their flight in a remarkable and wholly memorable way.
It was passed from one bird to another,
the whole gift of the day.
The day went from flute to flute,
went dressed in vegetation,
in flights which opened a tunnel
through which the wind would pass
to where birds were breaking open
the dense blue air –
and there, night came in.
When I returned from so many journeys,
I stayed suspended and green
between sun and geography –
I saw how wings worked,
how perfumes are transmitted
by feathery telegraph,
and from above I saw the path,
the springs and the roof tiles,
the fishermen at their trades,
the trousers of the foam;
I saw it all from my green sky.
I had no more alphabet
than the swallows in their courses,
the tiny, shining water
of the small bird on fire
which dances out of the pollen.
“Caía de un pájaro a otro
todo lo que el día trae,
iba de flauta en flauta el día,
iba vestido de verdura
con vuelos que abrían un túnel,
y por allí pasaba el viento
por donde las aves abrían
el aire compacto y azul:
por allí entraba la noche.
Cuando volví de tantos viajes
me quedé suspendido y verde
entre el sol y la geografía:
vi còmo trabajan las alas,
còmo se transmite el perfume
por un telégrafo emplumado
y desde arriba vi el camino,
los manantiales, las tejas,
los pescadores a pescar,
los pantalones de la espuma,
todo desde mi cielo verde.
No tenía más alfabeto
que el viaje de las golondrinas,
el agua pura y pequeñita
del pequeño pájero ardiendo
que baila saliendo del polen.”
Comments always are welcome.
For more biographical details of Neruda’s life and politics, the Wikipedia page is useful.
For a history of his development as a poet and critique of his work, see the entry at The Poetry Foundation website.
Despite the wide variety of birds I’ve featured in this series, I never thought to include the wood storks (Mycteria americana). Having seen them only once, in August of 2016, I always assumed their visit to the Brazoria Refuge was an aberration. The Cornell birding site supported that conclusion, noting that the species occurs in only a few areas of the United States: particularly in wetlands or preserves along the Florida, South Carolina, and Georgia coastlines.
On the other hand, storks believed to originate in breeding colonies in Mexico and Central America have been reported in the lower Mississippi River Valley, Louisiana, and Texas during the late summer and fall. That could help to explain my second sighting of the birds in early July of this year — in the same area of the Brazoria preserve where I first encountered them.
I assumed that the pair shown above, and a half-dozen others wading among the grasses, soon would be gone, but by July 21 an impressive group of a hundred or more — both juveniles and adults — were roaming the flats, perhaps attracted by the falling water levels in the freshwater ponds and the consequent heavier than usual concentrations of fish.
The bird’s fishing technique is unusual, and fun to watch. Dipping its open bill into the water, the stork waits for a passing fish. Once it senses a fish, the stork snaps its bill shut, and dinner is served. According to National Geographic, the fish don’t have much of a chance; wood storks are capable of snapping their bills shut in as little as 25 milliseconds.
Despite the group as a whole being almost beyond the range of my camera, a few individuals were close enough for me to capture some of the oddly appealing details of their appearance. On both occasions the storks were accompanied by flocks of roseate spoonbills, but those photos can wait for another day. Here, it’s the wood storks’ time to shine, along with William Logan’s memorable poem.
Behind the movie theater’s neon beau monde
cooled the dank waters of a retention pond,
cyclone-fenced, palm-guarded, overgrown.
You walked there when you wanted to be alone.
For weeks nothing stirred the blackened reeds,
which were enough, those days you felt in need.
Then, one evening through the gathered gloom,
as if something uncanny had entered a room,
across algae green as an Alpine meadow,
eight white ghosts floated faintly through the shadows,
pausing, worrying, then slowly moving on,
the waters like a chessboard scattered with white pawns.
When bankers review their fat portfolios,
they draw such dark beaks open and closed,
great shears to cut some invisible thread.
The pale birds stalked like something newly dead.
One lifted a black-edged wing, in search of food,
and somehow that broke your somber mood.
Yet on they marched, like Dante’s souls through Hell,
awaiting the Last Judgment’s redeeming bell,
working their way in silence, fallen aristocrats.
You said they looked like ladies’ hats,
white as the color of love, if love has color —
bright white, you meant, only a little duller.
“On the Wood Storks” ~ William Logan
Comments are welcome. For more information on poet William Logan, please click here.
Meet Isoceles, the grackle with the triangular perch
Strictly speaking, this handsome bird is a grackle rather than a blackbird: specifically, a boat-tailed grackle (Quiscalus major). Often seen along the Gulf coast, it can be distinguished from the common grackle by its dark eyes; common grackles’ eyes tend to be a bright yellowish-gold.
Ogden Nash once wrote a humorous if not entirely complimentary little ditty for the grackle, but the stately demeanor of this bird seemed to demand something more. Wallace Stevens was able to describe “Thirteen Ways of Looking at a Blackbird,” and these four ways especially appeal to me:
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.
I was of three minds,
Like a tree
In which there are three blackbirds.
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
Comments always are welcome.
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?