A Subtle Essence: “Days Out of Doors” by Charles C. Abbott, 1889

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Sep 192020
 

In the forest, the sunlight softly stealing through the half-grown leaves gilds the dark mosses, warms the cold lichens, kisses the purple orchids, makes glad the gloomiest crannies of the wood. Scarcely a cave so dark, or ravine so deep, but the light reaches to its uttermost bounds, and, unlike the soulless glare of the midwinter sun, is life-inspiring. There is a subtle essence in an April Sun that quickens the seeming dead.

And while I have stood wondering at this strange resurrective force, at times almost led to listen to the bursting buds and steadily expanding leaves, a veil is suddenly drawn over the scene and the light shadows fade to nothingness. Falling as gently as the sunlight that preceded it, come the round, warm rain-drops from a passing cloud. Gathering on the half-clad branches overhead, they find crooked channels down the wrinkled bark. poise upon the unrolled leaves, globes of unrivaled light, or nestle in beds of moss, gems in a marvelous setting. Anon the cloud passes, and every raindrop drinks its fill of light. There is no longer a flood of mellow sunshine here, but a sparkling light — an all-pervading glitter. And it is thoroughly inspiring. Your enthusiasm prompts you to shout, if you can not sing, and the birds are always quickly moved by it. From out their hidden haunts, in which they have sat silently while it rained, come here and there the robins, and, perching where the world is best in view, extol the merits of the unclouded skies. Ernest sun-worshippers they, that watch his coming with impatient zeal and are ever the first to break the silence of the dawn; and all these April days their varying songs are tuneful records of the changing sky.

IN THIS BIT OF FLOWERY PROSE, CHARLES CONRAD ABBOTT OFFERS UP HIS EASTERTIDE PAEAN TO A SPRING DAY IN THE FOREST. It is easy to dismiss the text as purple prose, or a thinly-veiled Christian allegory (though it might easily be seen as pantheistic, as well). Yes, it is perhaps overwrought. And yet, reading it, I am transported into the forest glade dripping in the light April rain, and it is a forest alive with color and light. It is an everyday landscape, probably somewhere on Abbott’s land (a blend of tidal marsh and upland on the edge of Trenton, New Jersey), and yet it is also a place of wonder and magic. Indeed, many past readers have evidently found fault with this; the Friends of the Abbott Marshlands (Abbott’s property is now a park) note that “Abbott’s writing about Natural History have sometimes been criticized for being more romantic than scientific.” For my part, though, I appreciate Abbott’s sincere, I think, efforts to combine scientific observation with a sense of aesthetic, affective, and perhaps even spiritual engagement with the landscape.

ABBOTT ALSO CELEBRATED NOT KNOWING. In an age rich with scientific and technological progress, Abbott was quick to point out what we still do not know (though now, more than one hundred years on, some of those things are indeed known). For instance, he wondered frequently about birds — the why behind their seasonal migration, their degree of intelligence, their individuality, their pair bonding, and the intention behind their behaviors:

Although there may be many who assume to know, it were, in truth, as idle to question the Sphinx as to attempt to unravel the mystery of bird ways. Again and again, as the year rolls by, the rambler must be content t merely witness., not to unfathom the whys and wherefores of a bird’s doing; but still this unpleasant experience does not go for naught. It very soon teaches him that birds are something beyond what those who should know better have asserted them to be. To learn this is a great gain. It is well to give heed to him or her who carries a spy-glass; but as to him who merely carries a shot-gun, and robs birds’ nests in the name of science, faugh!

(AND TO MAURICE THOMPSON I SAY, “FAUGH!”)

FOR THE MOST PART, ABBOTT WAS CONSISTENT IN ADVOCATING THE STUDY OF NATURE WITHOUT HARMING ANY LIVING BEINGS. If we ignore a troubling passage in which Abbott apparently put a lizard to sleep with chloroform gas and removed its eyes in an experiment about the sense capacities of reptiles, Abbott generally wrote, and acted, in ways that reflect a respect for all life. In that way, he put himself at odds with many contemporary scientists, amateur or professional. For instance, in this passage he defines natural history in ecological terms that seem rather ahead of its time (particularly in the notion of perceiving the world through the senses of another animal, experiencing its umwelt (nearly half a century before Jacob von Uexküll first coined the term).

To place stuffed birds and beasts in glass cages, to arrange insects in cabinets, and dried plants in drawers, is merely the drudgery and preliminary of study; to watch their habits, to understand their relations to one another, to study their instincts and intelligence, to ascertain their adaptations and their relations to the forces of nature, to realize what the world appears to them — these constitute, as it seems to me at. least, the true interest of natural history, and may even give us the clew to senses and perceptions of which at present we have no conception.

ANOTHER NOTEWORTHY FEATURE OF ABBOTT’S ENGAGEMENT WITH THE NATURAL WORLD WAS HIS DESIRE TO EXPERIENCE IT IN NOVEL WAYS. Consider, for instance, his suggestion that the nature enthusiast ought to consider looking up into the treetops while lying upon the ground:

It may not have occurred to ramblers generally, but to lie upon one’s back and study a tree-top, and particularly an old oak while in this position, has many advantages. If not so markedly so in October as in June, still the average tree-top is a busy place, though you might not expect it, judged by the ordinary methods of observation. If you simply stand beneath the branches of a tree or climb into them, you are too apt to be looked upon as an intruder. If you lie down and watch the play — often a tragedy — with a good glass, you will certainly be rewarded; and, not least of all, you can take your departure without some one or more of your muscles being painful from too long use. If the tree-top life deigns to consider you at all when you are flat upon your back, it will count you merely as a harmless freak of Nature.

THROUGHOUT THIS BOOK, CHARLES ABBOTT REFERS TO HIMSELF AS A “RAMBLER”; IN DOING SO, HE IS INTENTIONALLY PLACING HIMSELF IN THE COMPANY OF BURROUGHS, TORREY, FLAGG, AND THOREAU. Unlike Thoreau, but like all the others, Abbott writes in a consciously rambling style; his book is a collection of adventures, loosely strung together by the seasons of the year. Having read more than 30 books from this time period now, it is a format I have come to recognize readily. On the one hand, it is a style that was easier to write (not requiring much underlying structure) and pleasant to read (relating various encounters with plants, animals, and the weather). At the same time, it puts some limit on the overall quality of Abbott’s book. Without structure, it is ultimately without direction. While most of the book is set in and around his home acres in New Jersey, on a few occasions mid-chapter he would jump to another part of the state, or eastern Massachusetts, or even central Ohio (where Abbott, an archaeologist, spent some time at Serpent Mound). He didn’t even always stick to the month the chapter was about; at one point, he jumped from September back to May. I can see why the rambling nature essay format (a favorite with Torrey and Burroughs) eventually fell out of favor. Abbott is a fine writer, and this book has some charming passages; but the volume does not come close, in power or profundity, to Beston’s Outermost House.

TO CLOSE, I OFFER ONE MORE CHARMING PARAGRAPH OF ABBOTT’S WORK. Here, Abbott called for protecting old trees, an action I vigorously second:

Why, when such trees as are perfect specimens of their kind stand near public roads, can they not e held — well, semi-sacred, at least? Should not their owners be induced to let them stand? Indeed, could a community do better with a portion of the public funds than to purchase all such trees for the common good? Particularly is it true of a level country that the only bit of nature held in common is the sky. I would that here and there a perfect tree could be added to the list. I have known enormous oaks to be felled because they shaded too much ground and only grass could be made to grow beneath them. It is sad to think that trees, respected even by the Indians, should have no value now. The forest must inevitably disappear, but do our necessities require that no monuments to it shall remain?

AS AN AFTERWARD, A FEW REMARKS ON THE STORIED BUT WEATHERBEATEN VOLUME I READ FOR THIS POST. The cloth at the spine is torn and loose, spine cocked, and part of edge of the front cover is missing. It is stained and tanned and the binding is loose. A collector’s copy it is not. In terms of history, as of 1890, it was owned by a Carrie Lucile Barton.

I have been able to find out very little about her online, but it is surprising there is anything at all. According to the National Register, in 1879 Carrie Lucile Barton was living in Washington, D.C., employed by the Coast Survey as a copyist. She had taken the position after living in Nebraska, though she was born in New York State. As confirmation that this is the same Carrie Barton as signed this book, I also found a Google links to a post mentioning that a Carrie Lucile Barton signed a copy of Les Misérables with her name and “Washington, D.C.” on December 3, 1888. Since my copy does not specify the location, did she move between 1888 and 1890? I also know a bit about her taste in poetry, if the two glued-in additions to the volume were her doing. Using Google again, I tracked the poem on the title page to Harriet Elizabeth Prescott Spofford, a highly published author of novels, poems, and detective stories. The other poem is by Silas Weir Mitchell, a physician, scientist, novelist, and poet. If I were asked to indicate a preference between the two, I think Mitchell is a bit more enticing, despite the “lilies languidly afloat”.

For Our Entertainment: “Sylvan Secrets in Bird-Songs and Books” by Maurice Thompson, 1887

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Sep 042020
 

From all we can gather it appears most probable that in its present form our songbird proper– our bird with a song to sing — is not much older than man; that he found his song just in time to gladden the ears of God’s last and greatest creation; that he struggled through countless ages and awful changes in order to fit himself for our entertainment. Think what the avian race has endured since first Archaeopteryx felt the feathers begin to bud in his arms! What a long, slow, hesitating, faltering current of development, from a scaly amphibian of the paleozoic time, up, up, to the glorious state of the nightingale and the mocking-bird! I never see a brown thrush flashing his brilliant song from the highest spray of a tree without letting a thought go back over the way he has come to us, and I always feel that to protect and defend the song-bird is one of man’s clearest duties.

I REALLY WANT TO FIND SOMETHING TO LIKE ABOUT MAURICE THOMPSON. The closest I can come is the close of this quote, in which Thompson — the same one that two years previously (as documented in my last post) killed one ivory-billed woodpecker and destroyed the nest of another pair — argues that we ought to protect songbirds. Of course, his rationale doing so is pure 19th Century anthropomorphism. Everything was created for us, pure and simple. Add to that the Great Chain of Being, a warped mismash of the Bible and Darwin, and a really bizarre explanation of the driving force behind evolution, and you have Thompson’s outlook on nature. History books celebrate the winners — the ones who get it right, the ones “ahead of their times”. Thompson most assuredly was not one of those. But his writing does offer a window into a long-gone age of American society, one in which the passenger pigeon, the Carolina parakeet, and the ivory-billed woodpecker all were driven rapidly toward extinction. What mindset made that possible? Here is another passage dripping with anthropocentrism and human entitlement:

The inspired record [the Bible] declares that man was given dominion, which would imply that the earth and all things upon it and in it were made for his benefit. Science may profit by this view of creation, and take the serving of man’s physical and mental needs as the end of evolution. In other words, we may assume that if the object of creation was to make a sphere of man’s dominion while in the human state, then all the lines of creature development have been drawn towards a culmination, have been led to their highest point, in the age of man’s creation; that the Creator perfected the animal, mineral, and vegetable kingdoms before he made man.

WHAT EMERGES IS A SEQUENCE OF LIFE, FROM PRIMITIVE AND LACKING MERIT TO HIGHLY EVOLVED AND MERITORIOUS. In this way, tacking the concept of evolution onto the notion of creation by God, Thompson offers a model in which man reigns supreme and can bask in the knowledge that it has been a long evolutionary journey to arrive at the human being:

All the more honor to the man if indeed he has come up from the germ in the old dust of chaos, has wriggled past the worms, swam past the fishes, outstripped the birds, and made himself the lord of all the animals. Indeed, as I sit here in this tropical springtide, with my eyes full of color-visions and my ears full of soothing sounds, I am willing to consider myself a manifestation of nature’s patient work, the end of a labor begun when life first stirred in the most favored spot of the earth.

THINGS GET REALLY CRAZY ONCE THOMPSON PULLS OUT HIS “SCIENTIFIC” EXPLANATION FOR HOW EVOLUTION WORKS. In his model, it is, well, I will let him explain instead:

Evolution is the outcome of natural desire, and natural desire has been generated by a disturbance of natural equilibrium. There is nothing abstruse or occult in this proposition; it is merely a recognition of the development of intelligence and of the controlling power of the brain in animals.

Lest that seem a bit bewildering, Thompson offers the model in much simpler terms a few pages later:

Evolution tinges everything. One grows like what one contemplates….

My elementary school cafeteria got it wrong: you aren’t what you eat. Instead, you are what you think. And your offspring, over many generations, will become more and more of that. For example,

Birds of the polar areas of snow and ice are white, those of the tropics are vari-colored and brilliant-hued. The condition in each instance has been reached by a natural desire to hide by blending with the prevailing tone of Nature.

And here is a different example:

In the case of wading birds, those species which have chosen to live near small streams have shorter legs and neck that species which prefer larger streams, lakes or sea-borders, and, taking the little green heron as an example, as our streams diminish in volume year by year, the bird modifies its habit in accordance with necessity, and in my mind there is no doubt that its legs and neck will be affected, in the course of a comparatively short period, to a noticeable degree.

If animals evolve by the choices they make and the things they desire, then it follows that it is possible to make better or worse choices. Consider the case of the flying frog of Borneo:

Here is a strange, belated effort of nature to urge the scaleless reptiles up to arboreal, aerial, and song-singing life, by the side of their more fortunate avian kinsmen, who early chose a better method of development!

And yes, this model of various levels (orders) of relative quality extends to other human cultures, too, as this passage reveals:

The woodpecker, beating his unique call on a bit of hard, elastic wood, is making an effort, blind and crude enough, but still an effort, to express a musical mood vaguely floating in his nature. We may not laugh at him, so long as from the interior of Africa explorers bring forth the hideous caricatures of musical instruments that some tribes of our own genus delight themselves withal. Among the Southern negroes it was once common to see a dancer going through an intricate terpsichorean score to the music of a “pat,” which was a rhythmical hand-clapping performed by a companion. I mention this in connection with the suggestion that the chief difference between the highest order of bird-music and the lowest order of man-music is expressed by the word rhythm. There is no such an element as the rhythmic beat in any bird-song that I have heard.

WITH WHITE AMERICAN MALE HUMANS AT THE PINNACLE OF CREATION, THEY ARE FREE TO ACT AS THEY SEE FIT TOWARD EVERYTHING ELSE. Thompson certainly allows for the sentiment of care, but in another essay he writes about a day spent in a Southern swamp during which he wasn’t in the mood for shooting anything — as if blasting away at birds was a perfectly reasonable accompaniment to observing them. Try as I will, I cannot appreciate Thompson as a writer — my mind is stuck on the image of him (from his own essay) standing atop a ladder in the deep woods, tearing through the rotten trunk of a tree in order in order to rob a nest of ivory-billed woodpecker eggs “for the sake of knowledge,” only to watch all five of them plummet to the ground by his own klutziness. “The species will probably be extinct within a few years,” he concluded.

AGAIN, I HAVE LITTLE TO SAY ABOUT MY COPY OF THOMPSON’S WORK. The cover is quite impressive, certainly compared to his book of nature essays, “Byways and Bird Notes”, from two years earlier. Otherwise, the book again reveals its age through crumbling binding and yellowed pages, but is without any traces of the journey it has taken to reach me.

A Flash of Color: “Byways and Bird Notes” by Maurice Thompson, 1885

 Birds, book review, Environmental conservation, Natural History  1 Response »
Sep 032020
 

In concluding this paper a general description of the male ivory-bill may prove acceptable to those who may never be able to see even a stuffed specimen of a bird which, taken in every way, is, perhaps, the most interesting and beautiful in America. In size 21 inches long, and 33 in alar extent; bill, ivory white, beautifully fluted above, and two and a-half inches long; head-tuft, or crest, long and fine, of pure scarlet faced with black. Its body-color is glossy blue-black, but down its slender neck on each side, running from the crest to the back, a pure white stripe contrasts vividly with the scarlet and ebony. A mass of white runs across the back when the wings are closed…leaving the wing-tips and tail black. Its feet are ash-blue, its eyes amber-yellow. The female is like the male, save that she has a black crest instead of the scarlet. I can think of nothing in Nature more striking than the flash of color this bird gives to the dreary swamp-landscape, as it careers from tree to tree, or sits upon some high skeleton cypress-branch and plies its resounding blows. The species will probably be extinct within a few years.*

*Since writing the foregoing, I have made several excursions in search of the ivory-bill. Early in January, 1885, I killed a fine male specimen in a swamp near Bay St. Louis, Mississippi; but was prevented, by an accident, from preserving it or making a sketch of it.

THE IRONY IS RIGHT THERE, IN FRONT OF THE READER. After a paragraph closing with the remark that the ivory-billed woodpecker will likely soon be extinct, Maurice Thompson, author, reports on killing a male he later found. He is not alone; among many naturalists of his time, appreciation of bird life often involved a shotgun and/or a spate of nest and/or egg collecting. What I find baffling is that many of the naturalists also recognized that species were becoming endangered, yet still they persevered. It is a miracle, I think, that so many birds still survived to this day. Alas, the ivory-billed woodpecker is not among them. Thompson clearly admired the bird greatly and held it up as a paragon of Nature’s beauty:

Of all our wild American birds, I have studied no other one which combines all of the elements of wildness so perfectly in its character as does the ivory-billed woodpecker.

Indeed, when describing his trip into a swamp to await the birds’ arrival at their nest hole in a stump, Thompson even called them the King and Queen of the Woodpeckers. He watched a pair of them for day after day, during which time “excepting a visitation of mosquitoes now and then, nothing occurred to mar my enjoyment.” Alas, they eventually realized he was watching them from his hiding place, “and that was the end of all intimacy between us.”

SOMETIME SOON AFTERWARDS, THOMPSON DECIDED TO TAKE ACTION FOR THE SAKE OF SCIENCE. “I reached the determination,” he explains to his readers, “that it was my duty to rob that nest in the interest of knowledge,”Digging deep into the stump’s recesses, he observed that

Five beautiful pure white eggs of the finest old-china appearance, delicate, almost transparent, exceedingly fragile, and, to the eyes of a collector, vastly valuable, lay in a shallow bowl of pine chips. But in breaking away the last-piece of wood-crust, I jerked it a little too hard, and those much-coveted prizes rolled out and fell to the ground. Of course they were “hopelessly crushed,” and my feelings with them…. Once or twice I went back to the spot in early morning, but my birds did not appear.

At the close of his book, Thompson speaks rapturously of “the unrecognized and unnamed science of bird-loving.” But if killing birds for art or collecting their eggs for a museum display is love, then truly the ivory-billed woodpecker was loved to death.

MY COPY OF THIS BOOK WAS SINGULARLY NONDESCRIPT. It is an original 1885 copy (I do not believe it was ever reissued), completely lacking illustrations. The book is tall, narrow, and slender, the pages browned and tearing easily. Besides its deteriorating binding and pages, it contains no traces of its 135-year history.

These Days of Parks and Chipmunks: “A Watcher in the Woods” by Dallas Lore Sharp, 1903

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Aug 312020
 
Author photo 1911 by William L. Finley, Oregon State Historical Society Library archives

Our forests by daylight are rapidly being thinned into picnic groves; the bears and panthers have disappeared, and by day there is nothing to fear, nothing to give our imaginations exercise. But the night remains, and if we hunger for adventure, why, besides the night, here is the skunk; and the two offer a pretty sure chance for excitement. Never to have stood face to face in a narrow path at night with a full-grown, leisurely skunk is to have missed excitement and suspense second only to the staring out of countenance of a green-eyed wildcat. It is surely worth while, in these days of parks and chipmunks, when all stir and adventure has left the woods, to sally out at night for the mere sake of meeting a skunk, for the shock of standing before a beast that will not give you the path. As you back away from him you feel as if you really were escaping. If there is any genuine adventure left for us in this age of suburbs, we must be helped to it by the dark.

WRITTEN AT THE TURN OF THE CENTURY (1901), THESE WORDS REFLECT THE RAPIDLY TRANSFORMING LANDSCAPE OF THE EASTERN SEABOARD OF THE UNITED STATES. From his home in New Jersey, Sharp bore witness to an age of urbanization and suburbanization. Wild woodlands were rapidly disappearing, replaced with orchards, fields, and city blocks. For Sharp, this change meant a dramatic shift, largely positive, in the state of America’s songbirds, as he saw more and more of them learning how to co-exist with humans. and their constructions. At the same time, he bemoaned the rapid disappearance of mammals and raptors, a situation he saw as inevitably becoming worse over time. And these changes would be a tremendous loss to all Americans:

I wish the game-laws could be amended to cover every wild animal left to us. In spite of laws they are destined to disappear; but if the fox, weasel, mink and skunk, the hawks and owls, were protected as the quail and deer are, they might be preserved a long time to our meadows and woods. How irreparable the loss to our landscape is the extinction of the great golden eagle! How much less of spirit, daring, courage, and life come to us since we no longer mark the majestic creature soaring among the clouds, the monarch of the skies! A dreary world it will be out of doors when we can hear no more the scream of the hawks, can no longer find the tracks of the coon, nor follow a fox to den.

On the other hand,

There is promise of a future for the birds in their friendship with us and in our interest and sentiment for them. Everybody is interested in birds; everybody loves them. There are bird-books and bird-books and bird-books — new volumes in every publisher’s spring announcements. Every one with wood ways knows the songs and nests of the more common species.

In fact, Sharp gloried in the extent to which he saw so many bird species adapting to a human presence. When a friend declared to him that the birds would all soon be extinct because “Civilization is bound to sweep them away,” Sharp

made no reply, but, for an answer, led the way to the street and down the track to this pole which High-hole [a northern flicker] had appropriated. I pointed out his hole, and asked them to watch. Then I knocked. Instantly a red head appeared at the opening. High-hole was mad enough to eat us; but he changed his mind, and with a bored, testy flip, dived into the woods. He had served my purpose, however, for his read head sticking out of a hole in a street-railway pole was a rising sun in the east of my friend’s ornithological world, New light broke over this question of birds and men…..

High-hole is a civilized bird. Perhaps “domesticated” would better describe him; though domesticated implies the purposeful effort of man to change character and habits, while the changes which have come over High-hole — and over most of the wild birds — are the result of High-hole’s own free choosing.

If we should let the birds have their way they would voluntarily fall into civilized, if not into domesticated, habits.

As evidence of this, Sharp highlights the avian riches in his own “civilized” backyard:

Using my home for a center, you may describe a circle of a quarter-mile radius and all the way round find that radius intersecting either a house, a dooryard, or an orchard. Yet within this small and settled area I found one summer thirty-six species of birds nesting. Can any cabin in the Adirondacks open its window to more voices — any square mile of solid, unhacked forest on the globe show richer, gayer variety of bird life?

In fact, orchards are particularly rich with avian fauna:

Except for the warblers, one acre of apple-trees is richer in the variety of its birds than ten acres of woods.

FORTUNATELY, SHARP’S PROGNOSTICATIONS CONCERNING THE FUTURE OF AMERICA’S RAPTORS AND MAMMALS WERE WILDLY INACCURATE. And fortunately, too, his claims about the degree to which birds adapt joyously to humans (to the point that wildlands become largely unnecessary for their continuance) appear to have been ignored. Still, in the midst of all the pessimism about the future of America’s wildlife that i have encountered in many other writers from this time, Sharp’s hopefulness and positive outlook on the human impact on nature was refreshing.

UNFORTUNATELY, FOR A VARIETY OF REASONS, I FOUND SHARP HIMSELF RATHER UNLIKEABLE. I know I ought to be open-minded toward others, particularly those that have been dead for almost a century. I kept trying to, even after the opening chapter ended with the shooting of several muskrats. In another essay, Sharp encounters an opossum in a hollow tree — and dines on him the next day. He writes about how toads are “unlovely” and “repulsive”, but how we should still learn to appreciate them for their other qualities. The final straw, though, is a random attack on those who love old books. How dare he?

An ardor for decayed trees is not from any perversity of nature. There is nothing unreasonable in it, as in — bibliomania, for instance. I discover a gaunt, punky old pine, bored full of holes, and standing among acres of green, characterless companions, with the held breath, the jumping pulse, the bulging eyes of a collector stumbling upon a Caxton in a latest-publication book-store. But my excitement is really for some cause; for — sh! look! In that round hole up there, just under the broken limb, the flame of the red-headed woodpecker — a light in one of the windows of the woods. Peep through it. What rooms! What people! No; I never paid ten cents extra for a volume because it was full of years and mildew and rare errata (I sometimes buy books at a reduction for these accidents); but I have walked miles, and passed forests of green, good-looking trees, to wait in the slim shade of some tottering, limbless old stump.

While I respect his attempt to juxtapose dead wood (trees) with dead paper (books) as a means of highlighting the life present in an old snag, as one who is equal parts lover of books and of nature, I will continue to find delight in both.

WHICH BRINGS ME TO THE COPY OF THIS BOOK THAT I READ. First, a clarification regarding the age of the text, though. A prolific writer of nature essays celebrating the local wonders of each season, Sharp published “Wild Life Near Home” in 1901, and then put out a thinner volume of excerpted pieces as “A Watcher in the Woods” two years later. In 1911, the Century Company published a School Edition — a slender volume without illustrations, but including notes and suggestions for teachers at the end. This particular edition appears to have been in the possession of an Ollie Brown (written in pencil, mostly erased) and (probably later) a Jennie Gordon from Yonkers Training School. Another person’s handwriting appears in fountain pen on the flyleaf, writing an indecipherable line (if anyone reading this can interpret it, please let me know what it says), followed by New York, followed by April 1934. That is all I know of this book’s history.

As Happy As a Child: “Out of Doors in Florida” by Charles Torrey Simpson, 1924

 book review, Books, Environmental conservation, Insects, Native Plants, Natural History, Snails  No Responses »
Aug 222020
 

There is a nameless charm in the flatwoods, there is enchantment for the real love of nature in their very sameness. One feels a sense of their infinity as the forest stretches away into space beyond the limits of vision; they convey to the mind a feeling of boundless freedom. The soft, brilliant sunshine filters down through the needle-like leaves and falls in patches on the flower-covered floor; there is a low, humming sound, sometimes mimicking the patter of raindrops, as the warm southeast wind drifts through the trees; even the loneliness has an attraction. To me it all brings a spirit of peace, a feeling of contentment; within the forest nature rules supreme. The memory of all that is evil and annoying has fallen away like the burden of Christian at the foot of the cross; I am alone and utterly care free in the pine woods. I cast off all my troubles and discomforts of my daily existence, the strain and worry of civilization; I am happy as a child. I am at peace with the earth, the forest, the sky, the entire world. As I lie in the long, soft grass I feel that I do not care to go back to the dull, sordid routine of every day life again.

GOING BACK THROUGH THIS BOOK AFTER RELUCTANTLY FINISHING IT, I KNEW RIGHT AWAY WHAT PASSAGE TO CHOOSE TO OPEN MY POST. No matter that Simpson was in his mid-70s when he wrote this book (he lived nearly another decade after this) — his childlike nature is everywhere on these pages. Wandering the Florida Keys, he gleefully recalls all the times he was mistaken for a tramp and (literally) left out in the rain by residents who looked askance at him. In pursuit of his beloved tree snails, he nearly died from mosquito bites (more to follow on that) and was constantly in the mud or struggling through greenbriars and thorny cacti. Yet he was also a keen scientist, one who used his tree snail collection to assemble a history of the environmental changes South Florida had undergone in the previous thousands of years. His writing is a delight, albeit a costly one (more about that later, also). He speaks of nature with religious rapture on one page, then recounts tales of Cuban rum-runners he knew that managed to evade the law by various creative means. I will save the humor and pathos of his collecting adventures for the second half of this post; first, though, some more passages that place him firmly in the company of religious naturalists. This one is from an account of a visit to Paradise Key in the Everglades:

We ventured a little way into the glades but the rains had made the mud very soft and after getting a backward view of the forest in which some fifteen great royals [royal palms] showed themselves, we started in on our return along the trail. Before reaching the road I left my companions and went back into the hammock. Leaving the trail I worked my way out into the dense, tangled growth, and as I sat down at the foot of a great tree and gazed around and upward it seemed as though the spirit of the forest took possession of me. On the ground was a carpet of dead leaves, for in such places they are falling all the time, and over this the few rays of the sun that came through the dense foliage seemed to be almost filtered. Near me several young palms, twelve to fifteen feet high, stood like graceful forest nymphs, their long leaves arching upward and outward with indescribable beauty. Around me on every hand were countless trunks of other trees varying from a few inches to several feet in diameter, erect, leaning or nearly prostrate, those of the live oaks almost black from the wetting by the rain, the gumbo limbos coppery, the poison tree brown, the West Indian cherry reticulated and variegated while the lancewoods and Ilex were white. Some were clothed with vivid green from several feet from the ground, a mantle spread over them by the abundant mosses, and immense lianes were carelessly thrown over all. Close by was the smooth, straight trunk of a big royal, pushed far up, its crown lost in the greenery above, but not far away stood another and through an opening in the leaves I could see its great head restlessly swinging in the strong wind, not a breath of which reached the ground where I sat. Not the slightest sound disturbed me; in fact one of the charms of the great forest is its stillness. I sat and fairly drank in the wonderful silence and loneliness of the hammock. In such a place one must be alone to enjoy the full beauty and sweetness of it all. Even the presence of the most congenial friend or lover of nature is distracting and in a sense a disturbing element. Alone with uncovered head I bared my life, my all to the Great Power of the Universe, call it Nature, God, Jehovah, Allah, Brahma or whatever you will, and reverently worshipped.

In his very next essay, The Vagaries of Vegetation, he shares his thoughts about intelligence in nature, coming to a conclusion as to where his religious outlook lies:

There is no chance, no haphazard; nothing happens. The universe is governed by law; no power can change or set it aside for a moment. Whenever and wherever life can fit itself to its domination it will survive and flourish; if it does not it perishes and becomes extinct.

I cannot believe either in a loving or hating deity who sits on a throne somewhere in the universe and watches over his creatures, who listens to and answers prayers, who orders the suns and planets on their courses, who make the rains , the wind storms and earthquakes. Yet I cannot be a mere materialist. I am sure there is not only matter and law but that there is intelligence, spirit. I constantly find the lower forms of life doing just what I would do with their environment, sometimes with less intelligence, sometimes with more. I can only believe that in a way these things think. I believe I must be, to some extent, a Pantheist.

LEST WE CONSIGN SIMPSON TOO QUICKLY TO THE ROLE OF MOUNTAINTOP (OR TREETOP) SAGE, THERE IS ANOTHER, HIGHLY COMICAL AND SELF-DEPRECATING SIDE TO HIM WHICH I ENJOYED IMMENSELY. His first essay in the book, Down the West Coast, chronicles an 1885 boat trip along the southwest coast of Florida that kindled his zoological cravings:

Not very far away [from the ruin of a coastal home] there was some fine hammock and on searching through it I came across the first specimens of the large, handsome arboreal snails called Liguus I ever collected. I was overjoyed to find them and from that day to the present time I have been completely daft about them, having tramped and traveled thousands of miles in lower Florida, Cuba and Haiti in an effort to collect and study them.

These wanderings led to some challenging moments for our author-protagonist, to say the least. Lest the reader every contemplate a trip to the Florida Keys, here is Simpson’s tale of his quest for Liguus specimens on Lower Matecumbe Key, long before the highway 1A was built (though after the Keys were connected by railroad):

The island of Lower Matecumbe is about three miles long and shaped something like a kidney with the concave side toward the mainland. The southwest end is largely a buttonwood swamp, but the other end is higher and contains a good deal of very dense, gangled scrub hammock. There are probably sixty or more species of native trees on the island, all tropical unless it is the cabbage palmetto, and the forest nowhere rises to a height of over thirty-five feet. A large part of the trees and vines are thorny, and I counted a full dozen species of these as I worked by way into it, twelve apostles of villainy, the worst of all being the dreadful Cereus pentagonus [triangle cactus]. There were three other cacti, the terrible pull-and-haul-back, a toothache tree, a Pithecolobium which bears the appropriate common name of “cat’s claw”, a couple of rampant vines, (Guilandina or nicker beans) which are covered with spines even to the seed pods, tw hateful Smilax [green briar] and a dwarf century plant. In such scrub the rocky floor is more or less covered with decaying tinder and as one of the natives once observed, “Them thorns stays right thar an’ is ready for bizness after the wood is all rotted an’ gone.”

In places the forest was so dense I had t get down and crawl and in others I was obliged to turn back and get out at the spot where I entered. I have seen mosquitoes worse, but not very often, and it seemed to me that most of the space not occupied by them was filled with sand flies, though there was sufficient room left for all to work freely. Between them they kept my hands and face covered, the bit of the latter feeling like the burn of a coal of fire. Though outside the hammock the wind was strong not a breath was felt where I worked and I was literally in a sweat bath. Every small tree and shrub I touched threw down a shower of water on me and my shoes were soon full. However, it was an ideal time for my business for snails are very active during wet weather, though they hid away when it is dry….

Before I had been in five minutes I ran into one of the curious wasps’ nests which are common in Lower Florida. They are hung to a twig by a slender stem and consist of a single series, or sometimes two, of papery cells whose sides are so glued to each other that they run diagonally to the direction of the whole. The wasps are small but make up in ferocity what they lack in size; they are regular dynamos of condensed villainy. A little later I ran into another and shortly before leaving the hammock I stumbled and partly fell, striking my hand against a third. In attempting to run from the wasps I stepped into a depression and fell full length into a bed of the dreadful cactus (Cereus pentagonus). Finally my face swelled so from the stings that I could scarcely see, and I determined to leave the hammock. On account of the cloudiness I could not tell which direction to take, but fortunately a train came along and I was soon out on the right of way. In climbing up the embankment I stumbled and fell, dropping my little sack and stepping on it. When I got to the track and turned out the contents I found every precious shell crushed to atmos. I was not merely angry, I was furious. I said that any man, especially at my age, who would come to such an inferno to collect was an idiot. I declared that I would at once go back to camp, pack up and flag the first train for home, that I would never come to the Florida Keys again. After tramping a quarter of a mile the strong wind and rain which blew in my face cooled alike my temper and temperature. I began to think that one of the chief objects of my coming to the Keys was to visit this island and work out certain important problems in distribution and evolution, that if I went home without doing this my trip would be largely wasted and that I might never come again. Why should I be so foolish as to be driven out by a few hardships? Then I wavered, stopped, turned back and went into the inferno again.

But it was on another trip, this time to Big Pine Key, where Simpson nearly died from all the mosquitoes attacking him:

Between the heel or point of Big Pine where the railroad coming from the north enters and the main island is a strip of swamp about two miles long. Over this the track was grown up thickly with grass and weeds to a height of a foot or so and in this the mosquitoes were packed almost solid. Although the atmosphere was full of them yet as I walked along I stirred them up by uncounted millions. The swarms were so dense at times that when I looked downward I could not distinguish the tracks or vegetation, nothing but a confused brownish green cloud and above they dimmed the light of the sun, they actually darkened the air. I have had a good deal of experience with mosquitoes…but I believe I can honestly say that fr numbers and fierceness as well as for a long continued siege what I saw and endured that day exceeded anything I have ever known before or since. I constantly broke off branches from the scrub along the road and brushed them off as well as I could, but they covered the exposed parts of my body until they were gray, and whenever I wiped them from my face, neck or hands the blood dripped on the ground.

The effect of the stings of such a swarm soon became something like that of morphine, producing a stupid, drowsy sensation, and in addition to this my cheeks and eyelids swelled until it was difficult to see. I began to grow weak, my legs tottered, and I realized that I could only last a limited time. Things swayed around me as if I was on a rolling vessel, and again and again I said: “Can I ever get through?” Twice I went to the side of the track and dropped down and gave up, but had I remained there I would have been dead in ten minutes. As often by a supreme effort I dragged myself on to my feet and staggered on half out of my mind for what seemed like hours. Finally I reached the main part of the island and realized that my tormenters were becoming less numerous. I passed through the village and on to where I was stopping, but could not eat and sleep and was sick all night.

Not all Simpson’s misadventures involved insects. He captured one such experience on film for posterity. First, his description of the event, his attempt to step out of a boat onto terra not-so-firma; note that he calls himself “the old man” in this narrative:

Running along the canal [near Moore Haven, Florida] the Doctor [J.K. Small] saw a rather inviting field for plants and the boat came in to the edge of it. There seemed to be some delay about finding a suitable place to land and as there was a fine lot of freshwater mussels in sight and the bank was fully three feet high and looked dry and firm the old man [Simpson] got his collecting outfit and made a flying leap out on to it. When he finally settled into place he careened over and his entire right arm and leg were buried in the soft mud of which the deceptive shore was composed. At once the entire gang aboard fell over and laughed until they cried, and when at last the Doctor was able to sit up, he declared that it was simply a scientific calamity that he couldn’t have had the camera ready and taken a photo of the performance. He said so much about it that the old man, rather than being a disaster to the cause of science went to where he had alighted and fitted himself into the mud again and was photographed. The episode was referred to afterwards as “The Landing of the Pilgrim Father.”

Finally, to close out this post, I will include a picture (literally) of what lengths (or heights) Simpson went to in quest of his snails. This episode, which took place during a visit to Lignumvitae Key:

As I went along I saw at some distance high on a slender tree something which looked like a white Liguus, but it seemed to be altogether too large, I hastened back and found to my astonishment that it was an enormous specimen which, although it was more than thirty feet above me, I was sure was the largest I had ever seen. I at once set my wits to work to secure it…..

It looked so large and handsome that I determined I would try to shin up to it. Shining a tree is pretty good exercise for a young fellow, but for a man nearly seventy-three and weighing more than a hundred and seventy-five pounds it is a good deal like hard work. However, I slowly pulled myself up and whenever I was completely exhausted I clung tightly to the tree and rested. The slender trunk swayed over so that I feared it would break, and once I made up my mind I would not attempt to go any further but the sight of the great, glittering jewel above me tempted me to go on and risk it. At last by reaching out as far as possible I could just touch it with the tip of my finger; then one more tremendous effort and I held it in my hand. I carefully loosened it, put it in my overalls pocket and in about the time it takes to tell of it I slid to the foot of the tree. Then I took it out; I fairly shouted and capered about like a happy boy; I rubbed it against my cheek and lovingly patted it; I talked. foolishly to it. No miser ever gloated over his gold as I did over that magnificent snail.

THIS BOOK HAS BEEN A DELIGHT TO READ — AT TERMS INSPIRING AND AMUSING. Simpson evokes a Florida before development took so much of it, though quite a bit of the degradation actually happened in the author’s lifetime. For instance, here is his account of how much damage had already befallen Lake Okeechobee, including his prediction for its future that is frightfully accurate:

All the glamor and mystery which once surrounded the great lake, all the wildness and loneliness, its beauty and grandeur, its peace and holiness are fast disappearing before the advance of the white man’s civilization and soon it will be only a sheet of dirty water surrounded by truck gardens and having winter homes on its eastern shore. Its rare birds and other wild fauna are gone forever, even the fish which once swarmed its waters are far less abundant than formerly. Its splendid forests are a thing of the past and in their place we will have a lot of cheap bungalows and atrocious plantings of exotics. It should have been preserved as a state or government reservation where its rare flora and rich wild fauna, its mystery and beauty could have been kept forever.

Sadly, it is virtually impossible to find a copy of Simpson’s book nowadays. Until 2017, no printed work newer than 1922 could be scanned for online reading, or published as low-cost on-demand printed paperbacks. (This has supposedly now changed, as this article reports; however, I expect it will be a considerable time before the largely volunteer world of book scanners catches up.) For Out of Doors in Florida, this meant that my only options were to find one in a university library, or purchase one online for a small fortune. Even if I could locate a library copy, I would be stuck in the library for a couple of days, reading it and writing my post. Because that was unrealistic given my daily work demands, I took the latter route, and I have to say this is the most I ever paid for a book (and it was supposedly on a one-week sale on eBay). Suffice it to say that I am delighted that my copy includes Simpson’s complete autograph (he usually signed his letters Chas. T. Simpson).

In terms of the volume’s history, it was formerly the property of the Park East Mobile Home Club, on the Tamiami Trail in Sarasota. One reader/owner filled half the inside back cover with listings of native plants, both common and Latin names, in pencil. I think Simpson would have been pleased to see the book put to such use.

A native royal palm rises 125 feet above the ground of Paradise Key, the Everglades.

Beauty and madness and death and God: “The Land of Little Rain” by Mary Austin, 1903

 book review, Books, Environmental conservation, Landscape History, Native Plants, Natural History, Sense of Place  1 Response »
Aug 162020
 

All streets of the mountains lead to the citadel, steep or slow they go up to the core of the hills. Any trail that goes otherwhere must dip and cross, sidle and take chances. Rifts of the hills open into each other, and the high meadows are often wide enough to be called valleys by courtesy; but one keeps this distinction in mind, — valleys are the sunken places of the earth, cañons are scored out by the glacier ploughs of God. They have a better name in the Rockies for these hill-fenced open glades of pleasantness; they call them parks. Here and there in this hill country one comes upon blind gullies fronted by high stony barriers. These head also for the heart of the mountains; their distinction is that they never get anywhere.

All mountain streets have streams to thread them, or deep grooves where a stream might run. You would do well to avoid that range uncomforted by singing floods. You will find it forsaken of most things but beauty and madness and death and God. Many such lie east and north away from the mid Sierras, and quicken the imagination with the sense of purposes not revealed, but the ordinary traveler brings nothing away from them but an intolerable thirst.

MARY AUSTIN’S “THE LAND OF LITTLE RAIN” IS A LOVE POEM, IN PROSE, TO A LAND AND ITS INHABITANTS, HUMAN AND OTHERWISE. The landscape is the desolate country of eastern California, between the Sierras and Nevada. In Mary Austin’s words, the land is a living presence, evoked vividly and sensorially over the course of her slender tome. Her book is a work of nature writing inasmuch as nature is embedded in its pages, in the form of descriptions of landscapes, plants, and animals. Only once does Austin pause, at chapter’s end, to reflect on the human relationship to the natural world, and her pessimistic viewpoint is one I have encountered before in other writers from this time:

Man is the great blunderer going about in the woods, and there is no other except the bear makes so much noise. Being so much warned beforehand, it is a very stupid animal, or a very bold one, that cannot keep safely hid. The cunningest hunter is hunted in turn, and what he leaves of his kill is meat for some other. That is the economy of nature, but with it all there is not sufficient account taken of the works of man. There is no scavenger that eats tin cans, and no wild thing leaves a like disfigurement on the forest floor.

EXTRACTING FROM THIS WORK IS A DIFFICULT TASK. It is of one fabric, a tapestry of words that weaves the reader into the landscape, through encounters with its storms, topography, geology, cultures, and wildlife. Consider this rich evocation of the way to the home of the Shoshone Indians:

To reach that country…, one goes south and south, within hearing of the lip-lapping of the great tideless lake, and south by east over a high rolling distinct, miles and miles of sage and nothing else. So one comes to the country of the painted hills, — old red cones of craters, wasteful beds of mineral earths, hot, acrid springs, and steam jets issuing from a leprous soil. After the hills the black rock, after the craters the spewed lava, ash strewn, of incredible thickness, and full of sharp, winding rifts. There are picture writings carved deep in the face of the cliffs to mark the way for those who do not know it. On the very edge of the black rock the earth falls away in a wide sweeping hollow, which is Shoshone land.

South the land rises in very blue hills, blue because thickly wooded with the ceanothus and manzanita, the haunt of deer and the border of the Shoshones. Eastward the land goes very var by broken ranges, narrow valleys of pure desertness, and huge mesas uplifted to the sky-line, east and east, and no man knows the end of it.

It is a land that was, in Austin’s day, still partly unknown, despite the (scanty) human presence upon it. Consider, for instance, Austin’s account of the tulares, vast expanses of marsh covered almost entirely by tule, a species of sedge. Avoided by people, the landscape is a haven for birds:

The tulares are full of mystery and malaria. That is why we have meant to explore them and have never done so. It must be a happy mystery. So you must think, to hear the redwinged blackbirds proclaim it clear March mornings. Flocks of them, and every flock a myriad, shelter in the dry, whispering stems. They make little arched runways deep into the heart of the tule beds. Miles across the valley, one hears the clamor of their high, keen flutings in the mating weather.

Wild fowl, quacking hordes of them, nest in the tulares. Any day’s venture will raise from open shallows the great blue heron on his hollow wings. Chill evenings the mallard drakes cry continually from the glassy pools, the bittern’s hollow boom rolls along the water paths. Strange and farflown fowl drop down against the saffron, autumn sky. All day wings beat above it, hazy with speed; long flights of cranes glimmer in the twilight. By night one wakes to hear the clanging geese go over. One wishes for, but gets no nearer speech from those the reedy fens have swallowed up. What they do there, how fare, what find, is the secret of the tulares.

Finally, to close, here is perhaps my favorite passage from the book — a potent evocation of the western landscape, told almost entirely through its scents. (Dare I call it scentsational?)

Out West, the west of the mesas and the unpatented hills, there is more sky than any place in the world. It does not sit flatly on the rim of earth, but begins somewhere out in the space in which the earth is poised, hollows more, and is full of clean winey winds. There are some odors, too, that get into the blood. There is the spring smell of sage that is the warning that sap is beginning to work in a soil that looks to have none of the juices of life in it; it is the sort of smell that sets one thinking what a long furrow the plough would turn up here, the sort of smell that is the beginning of new leafage, is best at the plant’s best, and leaves a pungent trail where wild cattle crop. There is the smell of sage at sundown, burning sage from [Paiute Indian villages] and sheep camps, that travels on the thin blue wraiths of smoke; the kind of smell that gets into the hair and garments, is not much liked except upon long acquaintance, and every Paiute and shepherd smells of it indubitably. There is the palpable smell of the bitter dust that comes up from the alkali flats at the end of the dry seasons, and the smell of rain from the wide-mouthed cañons. And last the smell of the salt grass country, which is the beginning of other things that are the end of the mesa trail.

AS A POSTSCRIPT, A FEW WORDS ABOUT MY BOOK. Alas, I cannot afford a first edition of Austin’s work, priced in the hundreds of dollars. I settled instead for a 1961 paperback a Doubleday Anchor Book from the Natural History Library. Though well worn and weatherbeaten, the book was otherwise free of writing or other evidence of its history. The list of other titles in the series in back was particularly helpful; it enabled me to find two more writers from the first 42 years of the 20th century.

A Bewildering Panorama: “The Meadows: Familiar Studies of the Commonplace” by John C. Van Dyke, 1926

 Backyard Nature, book review, Books, Environmental conservation, Native Plants, Natural History, Sense of Place  1 Response »
Aug 132020
 

The elemental forces — water, air, earth, light — were from the beginning. Man is merely a later happening, dependent upon the elements for existence, and in the scheme of creation little more than a looker-on. Only in recent years has he begun to study his environment and to notice the myriad combinations and manifestations of the elements which he calls Nature. It is still a bewildering panorama to him. He sees and admires the striking high-lights, the bright colors, the huge forms, but he overlooks the half-tones, the broken tints, the lesser forms that make up the great body and background of the picture. These minor keys seem to him ordinary or commonplace. But there are no such words in Nature’s vocabulary. Everything is shaped to an end, in a mould and pattern of its own, and for a specific purpose. The fault is in man’s lack of vision and want of comprehension. He sees and understands only in part. If he saw and understood all he would admire all.

“THE MEADOWS” WAS WRITTEN LATE IN VAN DYKE’S LIFE, AFTER HE HAD ALREADY PUBLISHED CLOSE TO 20 BOOKS, MOSTLY ON ART HISTORY BUT ALSO SEVERAL EXPLORING THE DRAMATIC LANDSCAPES OF THE AMERICAN WEST. Dyke’s best-known work, by far, “The Desert”, had been published nearly a quarter-century before, back when Van Dyke was a spry 42. After traveling afar (and in his imagination — most of what Van Dyke reports seeing and doing in “The Desert” was, it turns out, manufactured from his brother’s experiences and books he read), Van Dyke set his eyes on the humble Raritan Valley of his native New Brunswick, New Jersey, and crafted this book. Like myself setting out on a year-long pilgrimage down Piney Woods Church Road in search of the wonders of the everyday, Van Dyke looked to the woods and meadows for rich colors and forms and intriguing patterns changing across the seasons. As an artist first and naturalist second, Dyke celebrates the colors and textures of the feathers of common birds; he touches upon their behavior also, but there he seems to draw mostly on personal experience and less on scientific knowledge at the time. The book as a whole is flowing panorama of changing colors and forms, and array of exclamations of wonder and delight.

WHAT STANDS OUT MOST FOR ME ABOUT THE BOOK IS NOT THAT IT IS A WORK CELEBRATING LOCAL NATURAL HISTORY, BUT RATHER IT IS A BOOK WRITTEN BY A NEARLY 70-YEAR-OLD ART CRITIC CONFRONTING MORTALITY AND LOSS. There is beauty and delight here, but even that somehow always feels bittersweet. Speaking of the field mice, for example, Van Dyke turns an appreciation of their simple lives into a critique of civilization shortly after the end of the First World War:

Apparently the field mice lead a tranquil existence, raise large families, and feed fat without a varied diet. They are not worried about their hours of labor or their social status, nor are they obsessed by their possessions. They have no large ambitions to gratify, no desire to “get on” or be “progressive” or “up to date.” Their forefathers before them lived in the meadow grass and the orn shock, and probably they long ago concluded that their living conditions could not be improved by fighting the mice in a neighboring corn shock or agitating for socialism or communism in their tribal relations. They accepted the mouse tradition, and carried on with it because they realized that they could not, by taking thought or changing habit, become anything different, try as much as they could or would.

Set against the magnificence of Nature, the human contribution seems so empty, perhaps even irrelevant. Nature is, well, natural, while human art is awkward and forced:

I am continually bringing home from the meadows bare sprays of wild rose, raspberry, bittersweet; dead stalks of thistle, wild rice, wild oats, purple aster; pods of the milkweed, cones of the pine and hemlock, clustered berries of the black haw, bunched seeds of the scarlet sumac. Placed in jars or arranged against the wall, and studied leisurely, they become more marvellous even than in their meadow habitat. One never gets to the end, never gets to the point where all is told, as so often happens with human inventions. Always there is something new, something beyond, something never known before. Nature seems limitless in design, fathomless in meaning.

How these dead stems and branches cheapen the art of man! A spray of bronze-green cedar makes my apple-green tea-jar of the best Chinese kiln look like a common crockery door-knob, and the pod of the milkweed or the cone of the hemlock puts a Renaissance bronze into a gas-fixture category. I account for this with an odd notion that the chemical elements that go to make up the cedar, the cone, or the pod are in perfect accord, agree in every particular, and come together by natural affinity. This coming together under peculiar conditions of soil, light, heat, moisture is perhaps fortuitous — something that may happen in a certain year or century or millenium, and then never again in the world’s history. On the contrary, the vase and the bronze are things arbitrarily put together by man without regard to chemical affinity or time or any other natural combination or circumstance. The result with them is a feeling of things being pushed into false relation, a lack of harmony in color, a lack of unity in design, a lack of quality in texture. We feel instinctively that nature never did, never could, bring forth such a distortion.

ULTIMATELY, VAN DYKE SAVES HIS GREATEST CONDEMNATION OF HUMANITY FOR HIS OBSERVATIONS ABOUT HUMAN DESTRUCTION OF THE ENVIRONMENT. Song and garden birds were disappearing, for instance:

That year by year the lawn and garden birds grow less is perhaps due to the lawn and garden producing less. Coal dust, city smoke, carbonic acid gas in the air and in the rainfall over cities, are not good for the growth of either insects or fruit.

Meanwhile, sprawl had overtaken the landscape — something I am sure he had witnessed first hand in his many decades living in northern New Jersey:

Nature and her progeny change little and have no wish to change at all. Indeed, it is nature’s plan to maintain the status quo, the existing order of things, for a time at least; but man is ever driving her to a wall, sapping her resources, distorting her purposes, establishing artificial conditions. Year by year the border-line is being pushed further back. Civilization and the suburbs are being carried into the fields and forests, and the birds and animals are shrinking away into the inaccessible portions of the earth. Nature did not reckon wisely in bringing forth her last creation — man. She perhaps had no thought that he would prove to be the great destroyer. Least of all did she reckon with his arrogant assumption that the world was given him to destroy.

Consider, too, his bitter, almost nihilistic lines about the polluted Raritan River and its disappearing fish:

Even some of the fishes once native to the stream, such as the sunfish, the perch, the small-mouthed black bass, have disappeared. Chemical factories that spit fumes into the air and refuse, acids, and oils into the streams will destroy almost anything that lives….

No one sighs or protests much about the river pollution and the passing of the fish. A river in these days is usually thought merely as an open sewer for cities. If necessity demands use of the water for drinking purposes, a filtering plant gives it a clean look and chlorine kills the typhoid germs. The conception of a river as something worth while, aside from water supply or drainage, passed out some time ago. Consuming, not conserving, the earth is the present bent. It is sometimes called “development”, which is too often only another name for flaying the face of things for present profit.

BUT WE CANNOT END THERE. It is too dark. There is still joy in this book, even if it is found mostly in the backward glance. While the future of nature and man may be grim, the past is a refuge, freely accessed through memory:

Children gathering flowers! Was that not the earliest recollection, the first introduction to nature, for most of us? That long-ago, far-away day when we first were taken to the meadows! How dreamily we can still remember the scent and hum and warm wind blowing, with white clouds above and a great blue beyond! And out of the vagueness we can still see that picture of waving fields of grass, with daisies and buttercups caught and rolled in the green wave — daisies spattered thicker than the stars in the Milky Way. And later, the trip along the brook where the small fish darted at our approach and the crows were cawing about their nests in the locusts — the trip that led through the woods with all the wonder of its humming life in the month of June! Was not that our first expansion to the glory of the world, even as the growths themselves had expanded to the sunlight and the air!

How those first experiences remain with us and refuse to be ousted by the sordid rush of later life! Down in the street, worrying with the world of business, or hemmed in a factory with the whirr of machinery, or tethered by the leg to some desk in a breathless office, how often a glance at the sky or the distant hills brings back the memories of those childhood days! No wonder there is a sigh over lost youth and a vision of a return to the countryside — to the farmhouse, the orchard, the fields of timothy and clover, the slow-winding brook and the great oak in the meadow, with its branches spread across the pool. We know now, if not then, that one impulse from a vernal wood may last us through a lifetime and be a consecration and a poet’s dream to us forever.It is not necessary that it should be a romantic, a classic, or a haunted wood. Even the commonplace woods of New Jersey may prove sufficiently compelling.

Of course, Van Dyke could not stop there. He closed out the passage with one final dig at modern society, a critique that sounds all the more true today, nearly one hundred years later:

But all that belongs to a bygone age. The humble things to-day fail to make lasting impressions. The rushing world craves the novel and exotic, and in seeking to avoid the obvious it only too often falls into admiration of the merely bizarre.

AS A POSTSCRIPT, A FEW WORDS ABOUT MY COPY OF THIS BOOK. While many of Van Dyke’s titles have been reprinted in paperback, that is not true for “The Meadows”. As far as I can tell, his 1926 edition was never reissued. My copy is a navy blue hardback with gilt letters and a front cover design with a stream flowing through a meadow. The cover photograph of a meadow is the only one in the book. After reading Van Dyke’s insightful remarks about environmental destruction, I regret that this book is so obscure. Any arguments that Americans in the early 1900s didn’t recognize the extent of the damage civilization was causing to the natural world are quickly put to rest by a few excerpts from this volume.

Nature At a Snail’s Pace: “In Lower Florida Wilds” by Charles Torrey Sampson, 1920

 Backyard Nature, book review, Books, Environmental conservation, Native Plants, Natural History, Night, Sense of Place  No Responses »
Jul 212020
 

[The Seminoles’] words are composed of a great number of syllables. Willoughby has given a vocabulary of them in his book Across the Everglades and in this only two words have a single syllable while many run up into eight or more. For instance heron is “wak-ko-lat-koo-hi-lot-tee”; instep is “e-lit-ta-pix-tee-e-fa-cho-to-kee-not-ee,” and wrist “in-tee-ti-pix-tee-e-toke-kee-kee-tay-gaw.” I should think it would take a half hour for a Seminole to ask the time of day, but fortunately he has plenty of time.

There is something very distressing in the gradual passing of the wilds, the destruction of the forests, the draining of the swamps and lowlands, the transforming of the prairies with their wonderful wealth of bloom and beauty, and in its place the coming of civilized man with all his unsightly constructions — his struggles for power, his vulgarity and pretensions. Soon this vast, lonely, beautiful waste will be reclaimed and tamed; soon it will be furrowed by canals and highways and spanned by steel rails. A busy, toiling people will occupy the place that sheltered a wealth of wild life. Gaily dressed picnicers or church-goers will replace the flaming and scarlet ibis, the ethereal egret and the white flowers of the crinums and arrowheads, the rainbow bedecked garments of the Seminoles. In place of the cries of wild birds there will be heard the whistle of the locomotive and the honk of the automobile.

We constantly boast of our marvelous national growth. We shall proudly point some day to the Everglade country and say: “Only a few years ago this was a worthless swamp; to-day it is an empire.” But I sometimes wonder quite seriously if the world is any better off because we have destroyed the wilds and filled the land with countless human beings. Is the percentage of happiness greater in a state of five million inhabitants than in one of half a million, or in a huge city with all its slums and poverty than in a village? In short I question the success of our civilization from the point of view of general happiness gained for all or for the real joy of life for any.

IN THIS TIME WHEN HAPPINESS IS RARE INDEED TO FIND, SIMPSON’S WORDS SPEAK DIRECTLY TO MY HEART. Opening the first pages of “In Lower Florida Wilds”, I developed an immediate affinity for the author. Though I know relatively little about him yet (his published biography is on its way to me now), through the pages of this book I have found him to be sincere, affable, thoughtful, perceptive, caring, and a bit self-deprecating to boot. His deep love for nature flows through these pages — along with his keen scientific mind and eye. Over the course of nearly 400 pages and over 60 black and white photographs (not to mention a color frontispiece of Simpson’s beloved tree snails), the reader travels through the geologic story of South Florida and then the myriad terrestrial and marine ecosystems found in the region. Through it all, Simpson mourns again and again the tragic demise of Florida’s wild animals, plants, and places. He seems largely resigned to their passing, though he does offer a ray of hope that conservation might yet be possible:

This locality [along the south shore of mainland Florida] is one of the last resorts of some of our most beautiful and interesting wading birds. Here in days gone by resorted vast numbers of gorgeous flamingos, scarlet ibises, roseate spoonbills, and roseate terns. This was one of the chief breeding places of the ethereally beautiful egret…and the even more perfect snowy heron…. Owing to woman’s vanity and man’s greed they are now well-nigh exterminated….

The entire region (which is of little value for anything else) should be set apart by the federal government, as a great bird reservation, but even then it would be difficult enough to protect the birds within it, for the same men who killed Bradley [a murdered bird warden whose tale is told here] would not hesitate to do the same by any other warden.

ON A LIGHTER NOTE, SIMPSON IS ALSO A MARVELOUS TELLER OF TALES OF HIS EXPERIENCE IN THE SOUTH FLORIDA WILDS. One of my favorite stories, though, happens to him in Key West, where he finds himself collecting lovely shells — of still-living snails — with quite comicl consequences:

I once made a cruise in the schooner Asa Eldridge from Bradentown, Florida to Honduras and on a Sunday morning while lying at Key West I strolled over to the north side of the island. As I approached I saw from a short distance that it was everywhere a mass of glowing violet color and then I found it to be covered from below tide to well out on the land with fresh Hanthinas. All the depressions and pot holes in the rocky shore were filled — in places several feet deep. A vast community or gathering of them probably extending for miles had stranded the night before on the beach. It was the most astounding sight in the way of molluscan life I had ever seen and when I recovered from my surprise I proceeded to collect specimens. Lacking any receptacle in which to put them I used my handkerchief, then my new straw hat, then one pocket after another of my fresh white linen suit, and when fully loaded I started for the schooner.

The day was hot, and soon the snails seemed to be melting. To my horror violet blotches appeared on my coat and trousers, spreading rapidly until the purple juice from the animals actually ran down and filled my shoes! I reached the city as the church bells were ringing and I tried to evade people by taking alleys and back streets but everywhere I met groups of churchgoers who stared at me in astonishment. They no doubt took me for an escaped lunatic. It seemed to me that Key West had a population of a hundred thousand and all churchgoers. Having run that gauntlet and reached the vessel our crew greeted me with shouts and laughter. My smart suit was ruined, nor could I even wear it around the vessel without being derided — but I had the satisfaction of cleaning up over two thousand fine Janthina shells.

Janthina janthina sea snail with its bubble raft, washed up on the east shore of Maui, Hawaii. (Wikimedia Commons)

THOUGH I DO NOT PICTURE SIMPSON AS A CHURCHGOER HIMSELF, HE WROTE OFTEN OF THE INSPIRATION AND WONDER HE FOUND IN NATURE. For instance, in this passage, he wrote admiringly (and well ahead of his time) of an intelligence operative throughout the natural world — not the intelligence of a supernatural designer, but of the plants and animals themselves:

It seems to me that there is a soul throughout nature, that the animals, and I like to believe, the plants, to a certain extent, think, something in the same manner that human beings do. Howe invents the sewing machine, Bell the telephone, McCormick the reaper — all devices to perform some service to the benefit of man. A palm sends its growing stem deep into the earth and buries its vitals to protect them from fire; the mangrove raises itself high on stilted roots in order than it may live above the water and breathe; an orchid perfects a complicated device to compel honey-loving insects to cross-fertilize its pollen. Animals resort to all manner of tricks to conceal themselves from their enemies. All these work not merely for themselves but for the benefit of the race to which they belong. If the work of man is the result of thought that of animals and plants must be also in some lesser degree. If man developed from a lower animal, the superior from the inferior, where may we draw the line between reason and instinct?

Consider, too, the paragraph below, in which Simpson (an “old man” at 73, though he lived another 13 years after this) celebrates the deep joys that come from going on wilderness adventures under primitive conditions in the swamps of south Florida:

Why should an old man, past the age when most persons seek adventure, leave a comfortable home and plunge into the wilderness to endure such hardships? What rewards can he receive for it? I never return utterly warn out from such a trip but that I vow it is the last. But in time the hardships are forgotten and recollections of the pleasant features only remain and I am ready to start again. There is in all this a sort of fascination not easy to explain — the relief that comes from being away from all the restraints and artificialities of communal life — and then, the “call of the wild.” There is a wonderful inspiration in the great out of doors. Every feels it — some more, some less. Personally I cannot resist the call and must respond when I hear it and understand its meaning.

Here is a lovely passage in which Simpson expresses a childlike wonder at the experience of being outdoors at night:

I love the night with its silence, its strange sounds, its beauty and mystery. It has an infinite attraction for the devotee of nature: al that he sees, hears, and feels are so different from the experiences of the daytime; he seems to be in another world…. Much of the wonder and beauty of the night consists in what is only half seen, in what is partly suggested, leaving the imagination to do the rest.

Itis then largely because of the stimulation of the imagination that the night is so wonderful. Under its spell we create a world of our own and revel in the make-believe — like the children of a larger growth that we all are.

Finally, I will close with this marvelous passage in which Simpson speaks of his reverence and devotion toward nature, something he fears that too many specialist scientists have lost:

It was in the wilds that Humboldt, Darwin, Wallace, Bates, Spruce, and the splendid company of the earlier and greater naturalists studied and worshipped Nature. They were interested in every phase and detail of it; their contact with it made them broad and big and able to see the great truths. There are many specialists who study intensively some small group of animals or plants until they know more about it than anyone else, but they have too little general scientific knowledge, and they care too little for the great scheme of nature. In fact they are too little. They may slave on the anatomy or heredity of a few things but they neglect the larger questions of environment and distribution. They are closet students — scientists, not naturalists; their whole occupation is business; they find neither beauty nor charm in it. They dig in a tunnel and see nature through a pinhole….

I do not want to investigate nature as though I were solving a problem in mathematics. I want none of the element of business to enter into any of my relations with it. I am not and cannot be a scientific attorney. In my attempts to unravel its mysteries I have a sense of reverence and devotion, I feel as though I were on enchanted ground. And whenever any of its mysteries are revealed to me I have a feeling of elation — I was about to say exaltation, just as though the birds or the trees had told me their secrets and I had understood their language — and Nature herself had made me a confidant.

Close-up of page edges of “In Lower Florida Wilds” showing water-damage(left);
birthday note to unknown recipient from Elsa, 1932, on flyleaf of book (right)

REGARDING MY COPY OF THIS BOOK, IT HAS HAD A ROUGH LIFE, THAT’S FOR SURE. The covers bow out a bit, and the pages have recovered from a good soaking. Reading it, I do not get that pleasurable sensation of being able to bend back the top corner of the page and advance quickly through the text; pages turn only singly. Though there is no salt brine, and my wife assures me the damage is not great enough to reflect a complete immersion, I cannot shake the image of this book having been used as a life preserver, cast overboard to a drowning would-be swimmer somewhere off the Florida Keys. I suspect the truth is as prosaic as an unexpected afternoon rainshower falling on a book left on a table on the back patio.

In terms of its history, the only event in its existence of which I can speak (besides its publication in 1920) happened on an unknown recipient’s birthday, March 4th, 1932, when Elsa gave someone this book on her (or his) 40th birthday, in Miami, Florida.

As another note from one who has taken a fancy to Charles Torrey Simpson — the friendship can be a costly one. This book was not terribly costly — about $40. However, his other two books, published in 1923 and 1932, are another matter. I have learned that any book published after 1922 is not available as a free scan online, nor are facsimile copies sold on Amazon or elsewhere. The book is truly out of print. For those craving more of this author, the choices are hunting university libraries for copies, or buying copies. I opted for the latter. I snatched a copy of his 1932 book for only $40, but his 1923 book was a “steal” in a signed copy in good shape for “only” $135. I think in the future I need to stick to less desirable authors — the disreputable riffraff of the literary naturalist community, if there is such a thing.

A Seaward Brook: “From Blomidon to Smoky and Other Papers” by Frank Bolles, 1894 (1856-1893)

 Backyard Nature, Birds, book review, Books, Day Hikes, Environmental conservation, Natural History, Sense of Place, Uncategorized  No Responses »
Jul 182020
 
Frank Bolles, photographer unknown, from Wikimedia Commons

Far up the cliff a brook, which had worked patiently downard from the soil on the summit of the mountain, appeared in a circular opening, and dashed its small spray seaward. Most brooks must fight their way over boulders and fallen trees, through dark ravines, by hot waysides and sleepy meadows, at last to win only a right to merge their lives in the greater life of the river. This brook had gone straight to its mother ocean, unchecked, unturned, and when its clear, cool drops fell towards the sea they were as pure as when they left the sky. The brook seemed symbolic of some lives, which, though living out their appointed time, go back to the source of life without ever having been polluted by society, or lost in its sullen and ill-regulated current.

I FOUND FRANK BOWLES’ LAST BOOK A DIFFICULT ONE TO READ. It was not specifically that the book was assembled posthumously from four essays about a vacation trip to Nova Scotia augmented by all Bowles’ essays (on birds) that had previously appeared in periodicals. Though I am not tremendously keen on birds and bird behavior (I am working on this, considering how prominently birds figure in early nature writing.), that was not the primary obstacle. I had already read two volumes of Frank Bolles’ work and therefore knew what to expect, but while Bolles’ work lacks the stunning mysticism of Henry Beston, he had become a familiar friend over the previous two volumes of his I had read, and his occasional gems of insight are a joy to encounter. No, what I found most difficult was that the book contained essays written mostly in the last year or so of an all-too-short life, chronicling Bolles’ summer adventures before the winter of his death by pneumonia. I experienced at once both the bittersweet appreciation of how fully he invested himself in engaging with nature (particularly birds), and also the realization that his gifts as a writer and scientist have been mostly lost to the world, thanks in good part, I suspect, to his early death. And I thought, naturally, of my late father, and our summer outing together to Nova Scotia many years ago to some of the very same places Bolles visited. I also thought back to the summer in Maine that Dad felt compelled to document in his tidy black ink handwriting; I have that work now, though have only read it once.

TO THOSE NOT FAMILIAR WITH BOWLES LIFE, THERE IS LITTLE TO FOSTER INTIMATIONS OF MORTALITY IN THE READER. The only direct indications that this book was Bolles’ last are in the form of a brief opening note about the book’s contents by EQB, and the fact that it is copyrighted Elizabeth Quincy Bowles instead of the author himself. Elizabeth is mentioned only a couple of times in Bolles’ essays; readers learn that she paints watercolor scenes of Chocorua Lake, and that, clearly, she has an inordinate level of patience for Bolles’ menagerie of pet owls. Reading this book, I could not help but wonder what became of her. I know they had children, and one daughter donated the family’s White Mountain land (or at least a good portion of it) to the Nature Conservancy in 1969. Still, I wish Elizabeth had illustrated this volume (at least the frontispiece) with her artwork, so that readers might get to know her better.

THIS BOOK MAY HAVE A CLUNKY TITLE, AND MAY BE UNEVEN, BUT IT STILL CONTAINS A FEW INSPIRING PASSAGES. One of my favorites describes Frank’s experience rowing a small boat in a bay near Ingonish with his family, and encountering a marvelous phosphorescence in the water. It leads him quickly on a cosmic path:

In the sky, bright masses ploughed their way through our air, impelled by an unknown force, driven from an unknown distance, and aiming for an unknown fate. In the sea, bright atoms ploughed their way through the water and glowed in soft splendor. The meteors are inorganic, dead mysteries. The phosphorescence is an organic, living mystery. Yet it is not more impossible to imagine the history and future of a body perpetually traveling through endless space than to try to count the numbers of these phosphorescent myriads. Generally I have the feeling that science is bringing us nearer to a perception of what the vast creation is which surrounds us, but at times the greater truth flashes before my eyes — that what we are really learning is not more than a drop in the limitless ocean of fact.

In another section, describing a forested gorge not far from Ingonish, Bolles speaks of the spiritual beauty of wilderness in a way that seems almost to mirror John Muir. Was Bolles acquainted with Muir’s writing? I cannot imagine otherwise:

Since leaving the open meadow by the sea and entering the dark forest, I had felt the spell of the wilderness resting upon me, the sense of age, beauty, purity, persistent force; all existing or working without man’s knowledge or approval, yet being the very essence of this dewy land of twilight. On coming to this grotto of rushing waters, Nature seemed for the moment to find a voice with which to tell of her wonderful power….

The spell of the wilderness grew stronger upon me, and when, suddenly, I thought how many wearied souls there were in great cities who would love to see this beautiful, hidden spot, something akin to shame for my own race came also into my mind. If man came here, would he not destroy? His foot would trample, his hand deface, and finally he would cut down the firs, blast out the rock, choke the salmon with sawdust, and leave the glen to fire and the briers which follow flame. It is always so; those of us who love nature and the beautiful are only the few, soon to be thrust aside by the many who value bread or riches higher than the fair earth’s bloom.

Later in the same essay, standing beside a flowing stream within the gorge, Bolles returns to this subject. In the passage below, he seems to reject , the dominant anthropocentrism of his era for an appreciation of how humans are only one facet of Earth’s life, and the recognition that nature can have value in and of itself.

This sense of beauty is a focus of nature’s deepest and purest life; and though in it man has no place, it does not on that account lack meaning or significance. Man is a masterful figure in the drama of creation, but he is not all, nor even half, what the world has long been taught to consider him. Perhaps he has been studied too much; certainly Nature, unspoiled by his greed, has not been studied enough or loved enough. Standing alone in that fair solitude, as much alone as on some atoll in a distant sea, I felt as though I might know man better, see him in stronger contrasts and clearer lights, if I could live apart from him longer in such still, calm, holy places as Indian Brook cañon.

THE FINAL TWO-THIRDS OF THE BOOK CONSISTS OF BOLLES’ PREVIOUSLY PUBLISHED ESSAYS. These were tougher slogging (for me, at least), because they were all concerned with birds, either wild or tamed. Bolles tamed a number of owls (obtained partly by shooting the parents and partly as gifts from others who had presumably done the same), and also raised three yellow-bellied sapsuckers (again, after dispatching the parents). Accompanied by one of the owls, Puffy (named by his children), Bolles found himself able to get wild birds come to him out of curiosity. Thus, he was able to include still more lists of birds observed. In terms of particular observations, Bolles played the role of the amateur scientist; particular interests included the diet of yellow-bellied sapsuckers (tree sap, insects, or a combination of the two) and the personalities of owl species.

FROM WHAT I HAVE READ, I WOULD PROPOSE THAT BOWLES’ GREATEST CONTRIBUTION TO CONSERVATION EMERGED FROM HIS OBSERVATIONS ON INDIVIDUALITY IN BIRDS. Strange as it may seem to the modern reader, there clearly was a time post-Descartes when animals were viewed as machines, incapable of developing unique personalities. As such, they could be freely shot without remorse. And Bolles did quite a bit of that, early on.

With me, belief in the individuality of birds is a powerful influence against their destruction. Like most men familiar with out of door life, I have the hunting instinct strongly developed. If a game bird is merely one of an abundant species, killing it is only reducing the supply of that species by one; if, on the contrary, it is possessed of novel powers, or a unique combination of powers, and can be distinguished from all its fellows, killing it is destroying something which cannot be replaced. No one with a conscience would extinguish a species, yet I already feel towards certain races that their individuals are as different from one another as I formerly supposed one species of bird to be from another. At one time I should have shot a barred owl without a twinge of conscience; now I should as soon shoot my neighbor’s Skye terrier as kill one of these singularly attractive birds.

In his next paragraph, Bolles considers his own work in the light of biological investigations at the time, and puts out a prescient plea for early citizen science to address the deficit:

Sentiment aside, bird individuality, if real, is of deep scientific interest. If we knew more of the influence of individuals, we might have a clearer perception of the forces governing evolution. Serious science is now so fully given up to laboratory as distinguished from field study that but little thought is given to problems of this kind. This fact makes it all the more possible for amateurs to work happily in the woods and fields, encouraged by the belief that they have innumerable discoveries still to make, countless secrets of nature still to fathom.

Like Christopher Robin leaving Pooh at the edge of the Hundred Acre Wood, it is in the wooded patches around his home in Cambridge, Massachusetts, that I will leave him — observing birds and recording their behaviors. As we part company, Bolles reminds me to keep observing nature and making discoveries:

A Sunday afternoon in May spent in the groves and fields of suburbs gives acquaintance with more species than there are hours in a day, and close watch for an hour of any one bird may yield a fact which no naturalist has ever recorded.

In Tune with Nature: “At The North of Bearcamp Water” by Frank Bolles, 1893

 Birds, book review, Books, Environmental conservation, Landscape History, Natural History, Night, Sense of Place  No Responses »
Jul 082020
 

During nearly the whole of the forenoon of July 3, 1892, a soft rain had been falling. It had begun in the night to the discomfiture of the whippoorwills, but not to the extinguishment of their voices. It continued until nearly noon, when the wind shifted from east to west, patches of blue sky appeared, and ever and anon gleams of sunlight fell upon the distant forest across the lake, or slid slowly over the tree-tops on the side of Chocorua.

FRANK BOLLES’ FIRST BOOK, COVERED THE FIRST HALF OF A YEAR’S ROAMINGS IN NATURE, JANUARY THROUGH JUNE OF 1891. His second book, picks up the tale a year later, telling largely of his nature encounters between June and December of 1892. The lost year represents a considerable shift in Bolle’s world; no longer are his nature outings centered on the outskirts of Boston; instead, nearly the entire book (apart from a page or two at the very end) is set in the White Mountains of New Hampshire. Some time earlier, Bolles had purchased an old farmhouse with a red roof, on the shore of a heart-shaped lake, opposite the peak of Chocorua. Presumably his family accompanied him during most of his visits to New Hampshire, though he barely mentions them and never volunteers any names. Mostly, the book is filled with his rambles, along cascading mountain streams and up along the ridges of the mountains. Always there are the birds, which “calls for” (presumably using a call of an owl or another predator) and describes with much enthusiasm. In one “experiment”, Bolles spends from prior to sunrise through sunset watching a hollow snag beside a stream flowing into the lake, noticing all the birds that visit the area at various hours of the day.

FOR THE MOST PART, THE BOOK READS LIKE THE ACCOUNTS OF PLEASANT OUTINGS WITH A CHARMING FRIEND. Rarely does the writing soar poetically like Beston or Muir, and not often does Bolles stop to contemplate the “big picture” of the ecological relationships evident around him, or the nature of human impacts on the White Mountain landscape. Still, reading the book transported me back in time, back to an age of sawmills and logging camps, railroad timetables and hidden bear traps in the forest. As a means of escape — a time machine between navy blue cloth covers — the book was mostly a delight. Before I had even finished it, I went ahead and ordered the only other book of Bolles’ essays ever published, a posthumous collection of essays including four from a trip to Cape Breton (more about those in a later post). Only one essay troubled me; Bolles wrote about the forest “gnomes” (voles, shrews, and the like) and his campaign setting out deadly traps near his home to see what he could catch (and kill). For all his evident respect for birds, he seemed to have a different attitude toward small mammals — one that was no doubt in keeping with that of most Americans at the time.

FOUR PASSAGES IN THE BOOK CAUGHT MY EYE, FOR DIFFERENT REASONS; I WOULD LIKE TO SHARE THEM HERE. The first is in the opening essay, A Thunderstorm in the Forest. Walking through the deep woods in a storm, he interrupts his ornithological observations to appreciate the rain falling on the leaves of various plants:

The rain pelting into my eyes bade me look less at the sky and more at the beauties at my feet…. There were no flowers, but the leaves were enough to satisfy both eye and mind — large leaves and small, coarse and delicate, strong and feeble, stiff and drooping. Some were long and slender, others deeply cleft, some round, or smoothly oval, others shaped like arrow-heads. Some received the rain submissively and bowed more and more before it, others responded buoyantly as each drop struck them and was tossed off. In some the up-and-down motion communicated by the falling drop was by the formation of the leaf-stalk transformed at once into an odd vibration from side to side, which was like an indignant shaking of the head.

What I appreciate about this passage is that, instead of stopping at describing leaf shapes, Bolles notices how the plants interact with the raindrops; instead of a static scene, the woodland forest floor comes alive for a few sentences. And I am left wondering how the different plants where I live here in Georgia might respond to the falling rain….

THE SECOND PASSAGE IS A MOMENT OF COSMIC WONDER, REMINISCENT OF BESTON. For Beston, that wonder called forth the rich interconnectedness of all things in ever-flowing energy and changing form; for Bolles, it points instead toward evidence for the existence of a God:

There is something inexpressibly touching and inspiring in the combination of fading night, with its planets still glowing, and the bird’s song of welcome to the day. Night is more eloquent than day in telling of the wonders of the vast creation. Day tells less of distance, more of detail; less of peace, more of contest; less of immortality, more of the perishable. The sun, with its dazzling light and burning heat, hides from us the stars, and those still depths as yet without stars. It narrows our limit vision, and at the same time hurries us worries us with our own tasks which we will not take cheerfully, and the tasks of others which are done so ill. Night tells not only of repose on earth, but of life in that far heaven where every star is a thing of motion and a creation full of mystery. Men who live only in great cities may be pitied for being atheists, for they see little beyond the impurity of man; but it seems incredible that a being with thoughts above appetite, and imagination above lust, should live through a night in the wilderness, with the stars to tell him of space, the dark depths of the sky to tell him of infinity, and his own mind to tell him of individuality, and yet doubt that some Being more powerful and less fickle than himself is in the universe.

THE THIRD PASSAGE IS FROM THE CLOSE OF THE BOOK; AS IF PRESAGING HIS OWN DEATH ONLY A YEAR AFTER THE BOOK WAS PUBLISHED, BOLLES CLOSES HIS FINAL ESSAY WITH THOUGHTS ON MORTALITY. Bolles ended his first volume on a similar note, though here, it is rendered more potently, as if Bolles is endeavoring through images and analogues of nature to convince himself that there is existence beyond the grave. There is tragic irony to his musings here:

…years are very real to us who can count so few of them before we reach that wide ocean towards which our stream flows. The flower has a day in its year, the gnat an hour. What a mighty harvest death has reaped since year began; yet no one expects any shrinkage in the current of life in the next year. The world’s rhythm will be just as strong, just as even, just as full of joy to those who will accept joy as the birds accept it. What, then, is death if it cannot diminish the sum total of creation’s forces? Is it more than a transfer of energy from one point to another? When the flower dies we can see and measure the transfer; when a man dies we who live cannot see it at all, but we can measure the poor shell which is left to us and feel sure, terribly sure at first, joyously sure in time, that all which was there in life is not still there; that something has been transferred where we can neither see nor measure it.

I WILL CLOSE ON A BRIGHTER NOTE, WITH THE FOURTH AND FINAL PASSAGE THAT CAPTURED MY ATTENTION AS I READ THIS BOOK. I have never seen Frank Bolles quoted anywhere — I hadn’t even heard of him before embarking on this blog. Meanwhile there are millions of Thoreau quotes written everywhere — there are even books filled with Thoreau’s quotes on different subjects (I have one on Education). But if I were to happen upon a Frank Bolles quote someday, I suspect it might be this one:

If we are in tune with nature, all her music can find a way into the heart and satisfy something there which yearns for it, and never can be wholly happy without it.

FINALLY, A FEW WORDS ABOUT THE COPY OF THE BOOK I READ. I managed to obtain a book whose cover appears practically new — vibrant blue cloth not at all faded, no writing inside — not even a bookplate or owner’s name anywhere. The volume was published in 1896, and is indicated as a Third Edition. I am gratified to know that, for at least a few years, Bolles’ work had some degree of popularity. From other copies I have seen for sale online, I suspect that my edition was also the last.

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