Trees Are Undressing

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The trees are undressing, and fling in many places—
On the gray road, the roof, the window-sill—
Their radiant robes and ribbons and yellow laces;
A leaf each second so is flung at will,
Here, there, another and another, still and still.

A spider’s web has caught one while downcoming,
That stays there dangling when the rest pass on;
Like a suspended criminal hangs he, mumming
In golden garb, while one yet green, high yon,
Trembles, as fearing such a fate for himself anon.
~Thomas Hardy “Last Week in October”

So we too will be flung into the unknown,
trembling in the chill wind,
unready to let go of what sustains us,
fated to land wherever the storm blows.

If caught up by a silken thread,
left to dangle suspended by faith
to await the hope of rescue, alone and together,
another and another, still and still.

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Holding Up All This Falling

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The leaves are falling, falling as if from far up,
as if orchards were dying high in space.
Each leaf falls as if it were motioning “no.”
And tonight the heavy earth is falling
away from all other stars in the loneliness.
We’re all falling. This hand here is falling.
And look at the other one. It’s in them all.
And yet there is Someone, whose hands
infinitely calm, holding up all this falling.
~Rainer Maria Rilke “Autumn” translated by Robert Bly

 

 

Sometimes I wake from my sleep
with a palpitating start:
dreaming of falling,
my body pitching and tumbling
yet somehow I land,
~oh so softly~
in my bed,
my fear quashed and cushioned by
awaking safe.

I feel caught up,
held tightly,
rescued amid the fall
we all will do,
like leaves drifting down
from heaven’s orchard,
like seeds released like kisses
into the air,
the earth rises to meet me
and Someone cradles me there.

 

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Begin the Hours Slow

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O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost—
For the grapes’ sake along the wall.
~Robert Frost “October”
I long to be beguiled by slower days;
each leaf of mine dropped
one at a time, sorely missed
until there is none of me left.
Slow me down slowly,
hushed and enchanted.
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A Soft Place to Look Back On

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a leisurely walk
through the fields near the house – two friends
who haven’t seen each other for over a year,
Much later they will remember only a color,
a golden yellow, and the sound of their feet
scuffling the leaves. A day without rancor
or angry words, the sort of day that builds a life,
becoming a soft place to look back on,
and geese, geese flying south out of winter.
~Stephen Dobyns from “The Music One Looks Back On”

 

As I look back through my mind’s eye,
I remember days that soften in memory
through their color~
the pinks of an early winter sunrise
the greens of springtime pastures
the blues of a mountain lake
the oranges of a fiery sunset
the browns of freshly tilled earth
the whites of a snowfall
the reds of summer heat
the grays of ever present rain clouds
but am enriched by the treasure
of the gold of autumn
as it descends and settles
to cushion my remaining steps.

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Pursued by Poplars

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A row of Populus Nigra (Latin for “people of the dark”), otherwise known as Lombardy Poplars, seems to be following me.  I feel pursued by this long border of eighty-plus year old poplars on the west edge of our farm.  The trees themselves, supposedly nearing the end of a typical poplar life span, are grand massively tall specimens, their leaves and branches noisily reacting to the tiniest of breezes.  In greater winds, they bend and sway wildly, almost elastic.  The trees themselves are certainly not going anywhere in their hot pursuit of me, but beneath the ground is a remarkable stealth root system that is creeping outward, reaching inch by inch closer to the house.

That is what strikes fear in my heart.

If I leave those roots undisturbed for only a few months, they swell to arm size, lying just below the surface of the ground, busily sprouting numerous new little Populus Nigra along the length of the root.   These are no cute babyish innocent little seedlings.  These are seriously hungry plants determined to be fed from the roots as if from a fire hose.  They literally put on inches over a week;  they are over 6 feet tall in a month or two.   If I am not paying attention, suddenly I’m faced with dozens of new poplar babies, each sucking on a communal maternal umbilical cord.

I have no choice but to seek and destroy on a regular basis.  It is a shock and awe operation.  I’m shocked at the growth and awed at the strength of the adversary.   Many of these simply cannot be pulled up from the dust by hand as the process results in a root crawling many yards long, heading east toward the house like a heat-seeking missile.  To finish off the job, sometimes the root must be removed entirely by tractor.  I am here to certify that it is impossible to remove sufficient root system to stem the Populus Nigra tide.  It will always return, healthier than before.

I do have to admire this tree for its fortitude as well as its beauty.  As a wind break, it is unparalleled, its leaves melodious in the breeze.   It sheds its foliage as well as dying branches in the fall, messily scattering itself as far as arboreally possible, so tends to precipitate warming bonfires on autumn evenings.   Lastly, it makes for great artwork by the likes of Monet and Van Gogh, creating predictability, uniformity and symmetry both in their paintings and in the palette of our farmscape.

The poplars may be pursuing me but I enjoy the chase.  I gaze with appreciation at our row of poplars’ dark outline against the horizon during orange sunsets.  I miss their hubbub of constant activity when their leaves drop for winter.  Stripped naked, they wait in surreptitious silence for the rush of spring warmth and moisture to start creeping forward again, the gush of sap plumping up seedlings like balloons, once again growing clones against all odds.

My husband suggested it was time to take the poplars down before they break over in their old age, overcome in the strong northeasters.  I must disagree.  They deserve the chance to fight off our struggle to the finish to prevent infiltration beyond their defined border row.

Being pursued by a tree is never a bad thing.   I am humbled their shallow roots will likely outlast me even as I try to take them out, inviting me into the dust to join them.

 

Van Gogh Poplars in Autumnpoplars in autumn –Van Gogh

 

Van Gogh Avenue of PoplarsAvenue of Poplars — Van Gogh

From spring to autumn 1891, Monet devoted himself to the treatment of a new subject, the only one he painted throughout this period: poplar trees. He produced a group of about 20 canvases depicting the trees planted on the edge of a marsh situated on the left bank of the Epte, two kilometres upstream from Giverny. The site had been put up for sale during the summer, and the plan was to cut down these trees. After the mayor had refused to grant a reprieve, Monet found himself forced to pay a sum of money to the timber merchant to stop the trees being felled before he had finished the series. Having set up in a boat, he made the most of the perspective effect offered by the line of poplars, which followed the winding course of the river upstream, forming a kind of large ‘S’. He was then able to form decorative compositions that were built around curved lines and counterbalanced by the verticals of the trunks. Monet painted several sub-series, reproducing the trees face-on and reflected in the river, but sometimes he reduced the motif to the simple vertical line of the trunks. With this new series, the painter repeated the approach he had undertaken the previous year with the Meules. The titles echo those he had chosen for that first series. The aim was identical in both cases: to depict the variations in light and seasons. The ‘instantaneity’ of these paintings is meant to convey the impression one feels when encountering the subject at a precise moment. The poplars series was the first to be exhibited without any other painting, as a complete entity in itself, when it was shown in the Durand-Ruel gallery in 1892.

A Final Flood of Colors

photo by Harry Rodenberger
photo by Harry Rodenberger

     

photo by Harry Rodenberger
photo by Harry Rodenberger

 

My daughter’s choice, the maple tree is new.
Come autumn and its leaves will turn to flame.
What I must do
Is live to see that. That will end the game
For me, though life continues all the same:

Filling the double doors to bathe my eyes,
A final flood of colors will live on
As my mind dies,
Burned by my vision of a world that shone
So brightly at the last, and then was gone.
~Clive James from “Japanese Maple”

 

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Resting in a Keeping Not My Own

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These glowing leaves made of the light a place
That time and light would leave.  The wind came cool,
And then I knew that I was present in
The long age of the passing world, in which
I once was not, now am, and will not be,
And in that time, beneath the changing tree,
I rested in a keeping not my own.
~Wendell Berry from “The Sky Bright after Summer-Ending Rain”

How briefly we stay here, mere shadows,
how transient our breath and pulse,
knowing all that was, or is, or will be
rests in You, abides in You, is kept by You.

 

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Best of Barnstorming Photos Summer/Fall 2014

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photo by Tomomi Gibson
photo by Tomomi Gibson

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