Viewing Jasper Mountain: June

June

WHEN YOUNG, I went west, and made my life in the woods with two dozen good friends who were always on the move, part of syndicalist forestry labor cooperative, the Hoedads. 
    We followed the melting snow from west to east, making the grand spring tour from range to range. Winters we worked within sight of the gray Pacific, or anyway in its rains, which bent the dark firs and cedars left and right, and tossed their heavy branches down, sometimes, at our feet. Rocks and logs rolled anytime, bounding and bumbling among us, and we hid behind stumps, cursing and praying our gods.
    By March the Olympics opened, and in April the Cascades. May brought the Wallowas, and June the high Bitterroots.
    We traveled in strange caravans of old trucks and buses, tipi poles tied to our roofs, and rolls of canvas. Arriving at Shelton, or Big Creek, or the Clearwater River, we circled our wagons and set up our poles, and tipis, and yurts, and trailers, and campers, and spread out seeking for firewood, or springs of good running water.
    By the light of a lantern, and warmth of the glowing camp stove, we swilled weak coffee, and told the same old stories, bending the truth a little, but only enough for enjoyment; the truth in our lives was better meat than fiction, and anyone could say: hey, remember the time at Alsea...
    ...when the rain was running sidehill, and the government hid in their truck, and it seemed like the end of the world? And then the sun came out, and right in the hole in the clouds there were seven bald eagles swirling around in the light? You remember that?
    ...yeah, and when we forded the creek down at Coos Bay, and the creek was all salmon from bank to bank, and Trooper caught one, and put it in Steffi's's tree bag, and along came the government, and asked had we seen any fish? And we said yes! We had! Hadda line on both sides of her with that tree bag flappin'.
    ...or when the Three Stooges did acid and went down to Shelton to talk to the government, and Len demanded more money because of the swamps? "Gators! Alligators in them swamps!"
    ...uh huh, and that night when they got back to camp, it was no camp, but six feet of river, and we'd moved off to high ground! Had to put up the yurt by our headlamps, and the wind picked it up with nine people attached, and set it back down.
    ...or the time when it sleeted all morning, and hailed us into the crew rig and down hill to Mapleton, and we sat in the shop eating four dollar sandwiches and drinking hot cocoa, and the government all thought we'd call it a done day, but we rode up to Grayback and worked in that blizzard till evening? Two hundred and twenty-two dollars each one of us got for that day.
    ...Yep, yep. And remember the heat up at Pierce, and the work done by moonlight, the sleeping all day and working again in the evening?
    And we'd tell these stories like old-timers, not one us thirty, yet each knew of death, of pain beyond bearing.
    This was the work: each carried a sack of gray canvas, rubberized well to hold moisture, and hung from a web belt and buckle. The sack held young trees. Fir seedlings, most often, Douglas, or nobles, or grands, or pines such as yellow or lodgepole. Depending on age of the trees, one person might carry a hundred, two-fifty, five hundred, at a single bag-up. Some lifted the bags with a grunt, and buckled the belts on, while others might lie on the bag, buckle on, and lie helpless, turned turtle, and wait for a hand up. Those tree bags were heavy!
    Each of us carried a hoedad, or dag, with a three-foot handle smoothed by years of gloved handling, and a curved blade of four inches' width of steel, fifteen inches long, at right angle to the handle, a cross between shovel and hoe, and sharp as an axe.
    The "goverment" came for us in clean clothes, in their green pickup, and led us in darkness or dawn to some high place, always high up, where the sunrise might catch fire to a wide plain of white cloud tops, or the mists might divide to show frost burning in sunlight below us, deep in the draws of an east face, glittering danger.
    With our hoes we scattered along the steep roadside, and stepped off in line, talking, or singing, swinging our tools first broadside, to swipe the soil clean, then straight down to open the hole for the tree roots. Buried in earth to its first branch, each tree would be packed in with boot heel, and tugged once to check for looseness, then on to the next spot and repeat.
    Each day, five hundred to a thousand or more times, each one of those planters did this, without boredom. The weathers, the dangers, the beauty, the friendship, the honor we saw in restoring some green to the mountains, where mile upon mile of stumps stood mutely in mourning of glory, all kept us returning to this work from elsewhere, like salmon returning upriver, or wild geese to their wide silver wetlands. Our homes were our camps in strange valleys, with the nights and the stories.
    We had a way to hold meetings: one would sit with a clipboard and take names, crossing us off as it came our time to speak. By the clock, we would say our piece, and with a stern warning from the clipboard: "Ten more minutes on this, and we will call the question." There would be a motion, amendment, vote on the amendment, vote on the motion. At the end, criticism-self criticism. A good orator would know how to wave a half-greased boot for emphasis, or throw a log into the red-hot yurt stove for punctuation. For some the yurt was home: they might spread a sleeping bag before the fire, and their dreams would dodge our arguments as we stepped over their heads, brushing crumbs and hay from our shirts and braids.
    My own house was a flatbed truck with dual wheels, floored with smooth maple, and hip-roofed with cedar all hand-shaked, with a stove and stove-pipe, and a lantern, and books, and a bunk, and bacon. 
    I had also a dulcimer of four strings, tear-drop shaped, of birch wood, and a harp with twelve chords, which I carried to campfires, where the guitars and mouth-harps were playing, and the singers kept up the bright fire and their voices from sunset to midnight, and the sparks from the firebrands rose up with the music and were lost amid thousands of stars.
    I once woke before dawn, and walked with a friend to a high cliff for the sunrise, and we brought a drum we had made, and drummed there and sang the sun up, and really we half thought we had made the world.

    I would go, now, to the woods, with a few things, and go walking with my pack, and my cup, and my rain gear, and go thinking of all the green bones I had found when I worked in the woods. Deer are not buried in boxes, you know; they drop where they stand when the running is over.
    The coyotes come, and the others, a cougar, perhaps, or a bobcat, and last come the ravens.
    The bones are scattered about where the tree-roots spread and the sword-ferns silently bend in the long rains.
    I like to find the bones, green like the ferns, but still hard, still looking as though they have lots of time, which they do. I set them on stumps so they can see better.
    
    I will walk to a place with a high cliff, and camp by the lake there at evening, and study the grand firs and the nobles reflected in the water made still by the evening. I will sit by the fire and consider, and lie down to count stars, and sleep, and in sleep dream dreams of green bones.
    When the morning arrives, gray and cold, I will rise and walk to the high place, bringing with me a drum I have made, and a song for my scattered people. 

,,,

     When we survey the acre of land with which we have surrounded ourselves, the oak and ash trees, rhododendron, hollyhock beds, barn, and house, we turn upon all these things a critic's eye, and keep ready to hand the pruning knife, fence hammer, and trim brush.
    We shape the trees to our own pleasure. But so do children, for whom trees are for climbing. So do birds, whose need is nesting; so also carpenter ants, who must bring nectar to that vast colony somewhere in our eaves.
    We knew, long ago, that we would come to such a place, with its diverse longings, so we called for a document to mark the beginning of our life together. Such a thing could be bought, but we both said, " oh, no, it must be hand made." We could see it as clearly as if it were already done.
    Each could describe it to the other, and to the other it was the describing of a thing already seen. The young student who volunteered, who shaped our wedding scroll, our fractur, with its brave words, was commissioned also to frame it with a house and trees, flowers, birds, a sense of place in a clearing amid woods.
    I think she understood this commission, this designing of a dream, that it was our weaving of a spell to catch our future, to make a future. And all who signed that Quaker wedding certificate, thirty-nine in number, understood: hope made visible. This is what art is, though we are living a time when it is not fashionable (at least among the intelligentsia) to say so.
    We get, occasionally, a visitor who signed that document twenty years ago. There is a pause as we come, in the "tour," to the wedding certificate in its place above the mantel, and there is an almost invariable recognition. The trees, the house in a clearing, an unimpeded view of a mountain, a circling raptor. They smile.
    "You were headed for this place the whole time, weren't you?"

    Such a dream is a lot to put one's name to, so we owe our thirty-nine witnesses much.

    I didn't know then, and maybe I don't know now, what the painting meant to those gathered round to hear our vows and sign their names. But it's enough to know they liked it, and still do, and so easily make the connection from it to our present life. Their approval leads me to believe, a little, in my own and Beloved's wisdom: that we could see a way forward, and say so; then having said, follow through. This is prophecy, the oldest art, which also called simply the art of living.


    Every gardener is an artist in this most ancient sense.

    The seeds and starts, balled trees, piles of rocks, and bags of soil amendment are pieces of a vision already seen, to be brought together with a willing toil and persistence.
    Even when the planting and placing of the elements of this vision is done, the vision is not yet attained: what was once seen is still a future glory, which the reality must yet grow into. My hollyhocks just now are two to three feet high, and my vision of them towers over me; in my mind's eye they are seven to eight feet, dropping blooms like small ladies-in-waiting among the clumps of spearmint at their feet. These hollyhocks-to-be, hovering in the air above the current scene, are in a sense the real garden, the garden of the mind toward which the outward garden is progressing.
    The two gardens will not come together without labor. We intervene by fighting slugs and removing grass and dandelions, and by watering.

    Watering is a different ritual with every gardener-artist.
    Some set up their summer sprinklers right away and leave it all to a timer and the available water pressure; those who can afford the initial outlay may invest in a drip system, with the tiny tubes running along every bed, stopping to weep only at a hill of zucchini or at the feet of each of the rhodies.
    We're a low-budget outfit, so our tools, especially early in the garden year, tend to be labor-intensive. At each end of the house is a spigot, low to the ground to prevent freezing in winter, and to these we have attached enough lengths of cheap garden hose to reach the ducks, the geese, the upper garden, the lower garden, the orchard garden, and the various fruit trees and flower beds.
    Beloved does the animals, the upper garden with her lettuces and brassicas and strawberries, and the Front Beds, which are mostly poppies and marigolds this year -- wherever she can tear out enough mint and oregano.
    I do the rest.
    This involves a constant war over nozzles.
    She really only likes one, a greenish fan-shaped thing that hits exactly the right width at four feet to sweep a garden row in one slow pass. She bought it over twenty years, ago and it has spent enough of that time sunning itself on its coils of hose to have faded in color, and it even seems to have lost weight, as though the years of water rushing through have eroded the plastic from within till we handle it like a blown egg. I dread the day that it falls from some unheeding hand and cracks.
    I like the sweep nozzle, too, for the first two minutes, but then I get restive. It hasn't enough reach, and I'm one of those who stands in one spot dispensing favors near and far. So I generally wind up removing the sweep and hanging it in the crook of the nearest lilac, and put in its place an old-fashioned brass nozzle. Antique ones are well made; get one of these. With the brass nozzle you can produce a fine mist eight feet across, or a brave fire-fighter's blast that fans out, forty feet away, just enough to water a distant tree without accidentally digging it up. There's really no better tool for demonstrating the phrase "all-purpose." The only disadvantage to the old brass nozzle that I can discover, but it is a very real one, is that if one removes it to switch to another attachment, and lays just about any old place, with luck one may find it – years later. 

    Our current compromise is the "pistol-grip." You can get a quite good visible one, bright yellow, American-made, too, for only three dollars. Be absolutely sure to get the one that is garden-hose threaded for attachments. The thing is highly functional as is, but once you learn what the threading is there for you'll be pleased.
    There is another gadget in this category, and that is a water wand, the kind that is about three feet long with a valve at one end and a nice aluminum rose at the other, on a slender crooked neck. I like the wand very much, at least when working with young plants, because of the so-tiny droplets it produces without choking back the volume of water the way the brass nozzles do.
    The secret to the wand is to hold it "upside down"; the rose should tip up like a flower (a rose), facing the sun, and its drops should rise into the air and fall by force of gravity alone, gently washing the mulch at the feet of your seedlings. The idea is to imitate, not rain, but a long-necked watering can of the English type, with its brass rose. I drape the hose over my shoulder and wander along, visiting plants and offering them the wash of life at their feet, where it's wanted. It's very meditative, using the wand, because there is no backpressure in the hose.
    There are times when you want the rain effect of the sweep or the mist of the wand, without losing the flow control offered by the pistol grip mechanism. Because you've bought the one with the threaded barrel, you can simply attach the other nozzles as needed, creating the right tool for the job at hand. I've become fond of attaching just the rose from the wand to the pistol grip nozzle; this results in a gadget that seems exactly what's wanted for perennial herbs and berries.
    When I walk about, watering with these various implements, it is generally evening. Direct sun will evaporate much of any water offered at mid-day, and in the mornings I'm off to work. Evenings are good for water economy and good for me. I fall into the routine, still noticing weeds that will need attention, or transplants that have stayed overlong in shock, but mostly I'm able to relax and look around.

    Beloved tucks a bit more straw around her newly transplanted lettuce. Canada geese pass overhead here any time of year, though they are at their most spectacular in autumn; we have also mallards who travel in pairs, one green and one brown, and put down in our goose pen to steal cob and talk to our Khaki Campbells across the fence. A swallow sits on the clothesline in his green dinner jacket and scolds me for getting too close to the birdhouse on the potting shed wall. The moon rises, sullen and red-faced at first, then brightens as night comes on, and the last of the sun sweeps up the face of Jasper Mountain and disappears where there will soon be stars. It is altogether restful to water a garden by hand if you have the time.
    Take your garden's advice: forget the evening news and the sitcoms. Make the time.



(To be continued)