United

We are united in the way we light out for the territory, waving our little flaps of foolscap. We believe in the separate good to be made from the common plunder. We serve blind growth, worship the holy tumor, the severed tit. Tempests boil over in every teapot. Drain your cups & turn them over, boys! Now wait while the invisible hand works its legerdemain. Under one dome you’ll find an entire legislature in session! And under another, I swear, that tricky little pea.

We are united in our love of private parts. We all stretch our feet toward the same fire, party of the first part and party of the second part, originally separate blossoms modified by Manifest Destiny into rays of unearthly light, spokes of a wheel, teeth on a cog. It all fits. Here comes the honeybee, my friends. And here comes the world’s distraught suitor, mumbling She loves me, she loves me not…

We are united in the way we put our sweaty palms together beneath our chins: for prayer, many of us; some for friction against the sudden chill; a few to rub in ointment or saliva. We have hundreds of channels, a thousand points of refracted light & in every one there looms the shadow of the swatter, ah, my fellow flies!

Three mornings, A.D. 2004

November 3

Clear sky, bright sun, high whistles of cedar waxwings gleaning wild grapes from the treetops. With the news of the election swirling in my head I am walking, walking. Last night’s rain pools in the makeshift cups of broad, curled oak leaves that have not yet learned how to lie flat against the ground. The ridgetop gleams with a hundred thousand miniature lakes, each with its separate sun & a plan for evaporation. If there’s anything else to see, I don’t see it. When I get back to the house, my boots are soaked.

November 4

Crawling in the dirt under my house to wrap the heating ducts in fiberglass. I wear a face mask against the dust: a hundred and fifty years have passed since rain last fell on this patch of mountaintop soil. I worm my way as far up as I can, bending and twisting into positions I’d never attempt with a lover, hug pipes to stretch ribbons of duct tape around rolls of insulation. Strands of pink fiberglass worry their way through my clothes like porcupine quills, turn my eyes blood red. I’m filthy. I itch all over. When I crawl back out into the cold drizzle, I pull down my face mask and take several deep breaths, then drain my bladder. I get my dad to help me beat the dust from my clothes. Where there’s smoke, they say, there’s fire. I’m not so sure.

November 5

A dried stalk of common mullein rattles in the stiff breeze, seeds loose in their pods like teeth in the belly of a rat. This wind leaves nothing alone, scouring the field, roaring on the crest on the ridge. In every direction I can hear new squeaks and moans from snags freshly toppled into the limbs of the living, there to rub and chafe throughout the long winter. Overnight, most of the oaks lost their leaves except for the scattered clumps where squirrels had made their summer nests. Now this fine mesh of branches against the sky, this lovely empty net can’t hold a thing. Right there where the two planets – Jupiter and Venus – had been shining side by side like a cat with mismatched eyes, now there’s only a large dark cloud with a rose-colored belly. It keeps right on going. The sun comes up.

The anatomy of perception (conclusion)

This entry is part 5 of 5 in the series Anatomy of Perception

 

6.

We only consult the ear because the heart is wanting. (Pascal)

But we are all fish
out of water,
giddy with oxygen.
Who can tell
the smell of ozone –
electric & wet – from
the taste of
their own fear
when the storm comes?

     the commercial fisherman:

     we entered the sound on a rough sea
     in pea-soup fog
     cut the motor & listened
     for the buoy clang

     the captain swears he can feel
     the change in the swells
     but that too could be
     a kind of listening

     men don’t talk about
     their instincts much
     we’re supposed to be impervious
     to gauge to ogle

     but looking makes everything
     smaller than it is
     the world
     recedes

     & if something can kill you
     you need to find it
     magnify it
     keep it close

     every pore in my body listened
     for that buoy its dull echo
     sweeter than a church bell
     over the hiss of the waves

Who has ears to hear, let him hear.
I crave immersion in the medium of grace.

I think of whale song more alluring
than any Lorelei, seals & walruses

whose ancestors heard the surf
pounding in their temples. Otters,

already so much more playful than
their bloodthirsty cousins on dry land.

I think perhaps our destiny is not
to be sucked out among the stars – vacuum

without sound – but back in the water,
sonorous & shining. Like Jesus

inscribed in the cursive alpha:
shoal. Implausible feast.

The storm approaches.
As pressure drops,
the ears fill
& pop & the heart
works harder.
Just like
when kisses land
lightly as
a fisherman’s fly
on the skin – creek
or lover –
& the trout in
the bloodstream
rises,
takes the hook.

7.

The least movement affects all nature; the entire sea changes because of a rock. . . . Impenetrability is a quality of bodies. (Pascal)

Yesterday morning, from the trees
up on the ridge, a cacophony of rusty hinges.
Startled by something, it stills, turns
into an immense rustle of wings.
A thousand blackbirds lift, pivot,
drift high across the field like
a cloud of smoke.

This morning, walking through the fog
on top of the same ridge, I am stopped
by a yellow sugar maple leaf
dangling from an invisible strand of silk
six feet off the ground.
The slight breeze is enough to make it
flip, flop, fly. The forest drips.

These are not metaphors for anything.
Science says, a body at rest,
a body in motion.
But only
such abstract bodies really make sense.
Ah, unreal body, home to an unreal sense!
Move one finger and the universe shifts: try it.
Let the small hairs on the back of your neck stand up.

The anatomy of perception (5)

This entry is part 4 of 5 in the series Anatomy of Perception

 

Our senses perceive no extreme. Too much sound deafens us; too much light dazzles us; too great distance or proximity hinders our view. . . . We feel neither extreme heat nor extreme cold. Excessive qualities are prejudicial to us and not perceptible by the senses; we do not feel but suffer them. . . . Extreme youth and extreme age hinder the mind, as also too much and too little education. In short, extremes are for us as though they were not, and we are not within their notice. They escape us, and we them. (Pascal)

In his late eighties, my grandfather’s neck bone sprouted a spur that pressed against his throat.

Imagine it, to be slowly choked to death by your own spine!

It got to where he could barely swallow & all his meals had to be pureed – “like baby food,” he groused.

He had already lost almost all sense of taste; only very sweet and very salty foods had any appeal.

Eating now became onerous, with only the promise of mealtime sociability with the other residents of the old folks’ home to hold his interest.

He grew light as a bird.

Even so, a portion of every mouthful – a drop or two, perhaps – blocked by the bony growth, trickled down his windpipe.

And as Pascal observed, “a drop of water suffices to kill a man.”

He contracted pneumonia.

Starved for oxygen, his brain fed him lies.

Fear found expression in hatred.

The coma was a mercy.

Children and grandchildren filled the small hospital room to overflowing.

He lay with eyes shut & mouth agape below the beak of a nose, one tube in his left arm & another in his urethra, his skeletal frame naked under the bed sheet.

As the night wore on, the gaps between the slight movements of his chest grew longer and longer.

Finally, when several minutes had elapsed, someone felt for a pulse: no hint of motion.

Then a great sigh that caught in a dozen throats, a gasping sob.

As vision blurred we embraced & embraced, baffled to find each other so unfamiliar, ourselves so strange.

The anatomy of perception (4)

This entry is part 3 of 5 in the series Anatomy of Perception

 

Barometric pressure was a novel idea in 1647 when the 24-year-old Blaise Pascal published his Nouvelles expériences sur le vide. Toricelli had invented the barometer only four years earlier. Pascal described how he climbed first a tower in Paris and then a mountain in the Auvergne carrying this new instrument, and watched as the column of quicksilver slowly dropped. He deduced that a vacuum must exist above the atmosphere – and thus, in a sense, became the discoverer of outer space.

Pascal recognized – and struggled against – the inadequacy of knowledge to ever encompass the universe. Though the logic of infinity could not be denied, he thought, its existence depressed him. This more than anything testifies to his greatness as a thinker: he was brave enough admit the existence of truths that caused him profound discomfort. While, on the one hand, “It is the heart that perceives God and not the reason,” reason still exerts a critical check on human pride: “Man is equally incapable of seeing the nothingness from which he emerges and the infinity in which he is engulfed.”

Late in life, battling illness, Pascal made a study of the cycloid, a curve traced by a point on the circumference of a hoop traveling along a straight line. Using the “method of indivisibles” pioneered by Cavalieri, Pascal managed to solve a series of problems that had defeated Galileo and Descartes. In the process, he came within a hair’s breadth of discovering the infinitesimal calculus, decades before Leibnitz and Newton. Unable to sleep for pain, he stared up into the darkness and saw the solutions unfold.

Blaise Pascal was a slight man with a booming voice, and people found him pugnacious, even overbearing. Ill health and crushing headaches were his constant companions since childhood. He died of a malignant growth in his stomach that spread to his other organs. A post-mortem examination also revealed an ugly lesion on the brain – the source of his migraines. Apparently, as an infant his fontanelle had failed to close properly, and the bones in his skull had slipped and ground against each other like the tectonic plates that make up the surface of the earth. He died in great agony and convulsions on August 19, 1662, at the age of 39.

The anatomy of perception (3)

Another blogger to respond to Susan’s question about the senses – “Which do you think is the most important?” – was Siona, of Nomen est Numen. She opted for touch. In a subsequent post, she expanded on the theme.

I should make it clear that these poems in the “expected voices” of others are entirely acts of my own imagination. If you want to know what Siona – or Dale, or Susan – really think, read their blogs (all highly recommended, by the way). I hope it’s obvious that what I am trying to do here is extract details from various narratives that advance my own argument (such as it is). This very process of selection means that the “I” of these poems is really more me than anyone else.

Once again, the epigraph is from Pascal. (Tomorrow’s section should make it clear why I am using his writing in this context.)

3.

We think we are playing on ordinary organs when playing upon man. Men are organs, it is true, but odd, changeable, variable, with pipes not arranged in proper order. Those who know how to play on ordinary organs will not produce harmonies on these.

I am
all mem-
brane
it’s true

the brain itself
is an open
wound
folded
into a fist

skinny? but
skin’s at
a minimum on
someone
as thin
as me

bony, yes –
except this
skeleton has been
so brutal
bruising
my starved
flesh

back when I was
my own
demon lover
when I wanted
to feel
nothing-
ness

but recovery has
turned me out-
side in
a Möbius strip

I can shut
my eyes
& read the
world’s Braille
from within
the world

run your fingers
down along
my spine

do you feel how
my whole
body
blinks?

The anatomy of perception (2)

This entry is part 2 of 5 in the series Anatomy of Perception

 

For this section, I borrowed a story from Dale, who was responding in turn to Susan’s question about the senses. Once again, the epigraph is from Pascal, and the subject, as in Dale’s story, is the late critic Cleanth Brooks.

UPDATE: Lines 5-8 of second stanza rewritten (10/31) in response to an objection from Dale (see comments).

2.

Having assurance only because we see with our whole sight, it puts us into surprise and suspense when another with his whole sight sees the opposite . . . For we must prefer our own lights to those of so many others, and that is bold and difficult.

When the scholar’s eyesight fades,
what good are his books?
His library turns as unreadable
as Lascaux: scriptless drama of shapes
on the walls of a cave, the artifice
unglossed within the viscera
where the quarry – tissue
of allusions
– still bristles
with bookmarks. That flux of the world
of becoming:
to capture is
to kill it. Decipherment leads to loss.
The dance must be primary, he wrote.

I acted briefly as amanuensis,
lent him my eyes for a paper he had to give.
Bending to my task, I felt
of little use, a cheap fiction.
My West Coast accent flattened
the words he loved, robbed them
of shadows – like trading embossed
leather covers for a paperback spine.
Perhaps he sensed, even then, the germ
I carried on my youthful breath,
insidious as any misty paraphrase,
corrosive as hope.

The anatomy of perception (1)

This entry is part 1 of 5 in the series Anatomy of Perception

 

This begins a brief series on the anatomy and phenomenology of perception, using quotes from Blaise Pascal, Pensées: Thoughts on Religion and other subjects, translated by William Finlayson Trotter. The original suggestion to discuss the senses (which I refuse to try and enumerate, by the way) came from a post at Susan’s blog, so it seems only appropriate that I begin there, with all due apologies for this attempt to speak in her voice. (Susan has shown herself to be a quite competent poet in her own right.)

I expect the series to last the rest of the week. The final sections are at present still in a very rough state.

1.

Let us imagine a body full of thinking members.

The uterus knew what I
& the doctor did not.
It threatened mutiny.

The mind is more than brain,
I’d say, the body’s
a net of nerves,

which makes the womb a net
within a net. Mine wasn’t
about to let its catch be killed

when the baby still sat
ass-downward & they talked
about turning it. Something,

everything said NO.
I chose the Caesarian.
When they went in, they found me

so deformed, they took
pictures. The baby had sat
the only way she could fit

& turning her would’ve killed her,
ruptured the uterus. Call it
instinct, sixth sense.

I opted for mild sedation,
& if they’d let me
I would’ve watched. I was

that detached. Only
the thought of the turning
made my insides flip.

Appalachian ghosts

This entry is part 3 of 3 in the series Blogging the Appalachians

 

If I had to choose one word to describe the Appalachian region, it would be haunted. The mountains are full of ghosts. Gone are most of the Indians, their languages and oral literatures with them – unique and irreplaceable ways of looking at the world. Gone from the east are the bison and the wolves, except for a tiny pack of inbred red wolves in North Carolina. Gone forever are the heath hen, the ivory-billed woodpecker and the passenger pigeon, a single flock of which could once darken the sky for three days with its passage. The mighty American chestnut, source of the strongest timber and some of the best wildlife food in the mountains, has disappeared except for the runty sprouts that live ten or twenty years before succumbing to the blight.

Gone is the great eastern forest, and most of the soil with it. People tend to think of a forest chiefly as a conglomeration of trees, but that’s not the half of it. The few remaining tracts of eastern old growth are qualitatively different from the surrounding woods, most noticeably in the depth of the humus, which teems with fungal and microbial life two thirds of which probably belongs on the endangered species list – not that anyone has ever bothered to study and classify it. Only in the last couple of decades have ecologists begun to appreciate the extent to which trees depend upon their fungal associates to perform such basic tasks as nutrient and water uptake. Some of these fungi only produce fruiting bodies underground, depending on animals such red-backed voles and northern flying squirrels to disperse their spores. What happens when one corner of this three-legged stool is removed?

Erosion following repeated clearcutting and associated fires removed 11,000 years’ worth of accumulated humus on many steep mountain slopes. Now, non-native, invasive earthworms are rapidly colonizing soils throughout the eastern forest, preventing the formation of new humus and changing the soil chemistry in the process. The Southern Appalachians contain the most biodiverse temperate forest in the world. They are, for example, a major center of terrestrial salamander endemicity; absent a humus layer, it’s difficult to believe that very many of these forest floor denizens will survive.

Another familiar and cherished measure of Appalachian biodiversity is the wealth of spring ephemeral wildflowers, slow-growing perennials whose very names are magic: ginseng, Jack-in-the-pulpit, Solomon’s seal, wild sarsaparilla, wake robin, may apple, foam-flower, spotted mandarin, trailing arbutus, yellow lady’s-slipper, goldenseal . . . These plants are rapidly becoming scarce throughout their ranges, threatened by a seemingly endless litany of threats: acid rain from coal burning power plants; an overabundance of deer; competition with invasive plants better adapted to an earthworm-infested soil; clearcutting; suburban and exurban sprawl; the conversion of hundreds of thousands of acres of rich, moist, mixed-species forests into red pine plantations; and – most horrifying of all – mountaintop removal, a new, more extreme form of strip mining in which vast portions of mountainous West Virginia and Kentucky are being turned into rolling, grassy uplands drained by dead streams and unlikely to support true forests ever again.

The violence of the frontier never really subsided. It merely grew less personal, more institutionalized. While the people who lived here before Europeans came were not exactly peaceful, the idea of conquest was largely unknown to them. Intertribal wars, where children of the enemy were kidnapped and raised as full members of the tribe to replace slain warriors, resembled the low-intensity ground fires the Indians set every few years to promote the growth of deer browse plants and blackberry thickets. The Indians aimed at a rough equilibrium between opposing forces rather than the subjugation or obliteration of a hated foe.

The concept of a nature apart from humanity has no real equivalent in indigenous worldviews. But the essential dignity and integrity of non-human beings – their self-willed quality, their wildness – was respected. Greater-than-human realities were revered, including everything that we understand by the word wilderness and then some. It’s all very well to say that our thinking has “advanced” to the point where – perhaps – a bare majority of American citizens might have some appreciation for these perspectives. But until the underlying social and economic structures change, all the sympathetic understanding in the world won’t do much good. The very people who claim to care the most about nature are the ones building new homes on lots gouged out of the forest. The conquest continues.

STORIES AT EVENING
(A Suburban Mother Tells Stories to Her Son)
by Louise McNeill

My great great grandpa Jethro walked
The wild savannas deep in grass;
He saw the herds of buffalo
File westward through the mountain pass.

Great grandpa William in his time
Remembered pigeons wild and gray
Whose thousand wings beat out the sun
The morning that they flew away.

My grandpa Frederick could recall
The wild trout flashing in their school;
He set his stick of dynamite
And scooped a hundred from the pool.

My father, Douglas, saw the trees.
Across this bare, eroded land,
He saw the tulip tree and ash,
The spruce and hemlock – virgin stand.

And I myself at morning saw
The chestnut on the ridge – its living green –
The blue-fringed gentian . . .

Listen now, my son –
Stories at evening – wonders I have seen;
And as we sit, look sharp and well remember –
Your son may hear the strangest tale of all:
How little rabbits hopped across our garden,
How grass grew by the wall,
And there, one night, when you were six or seven,
You heard a bobwhite call.

(Hill Daughter: New and Selected Poems, University of Pittsburgh Press, 1991)

Since McNeill wrote that poem, in the late 1960s or early 70s, populations of northern bobwhite quail (Colinus virginianus) have declined throughout its range. In all my 38 years, I have never heard a bobwhite call.

*

Thus, the ghost stories we love to scare each other with this time of year point to darker realities, for me. Of course, the Appalachian region abounds with stories of witches, haints and other uncanny beings. I say “uncanny” rather than “supernatural” because some, such as the fabled white stag or Will o’ the Wisp, have a basis in reality.

When my brothers and I were young, we used to go trick-or-treating over to our only neighbor’s house largely for the legends and lies Margaret was all too willing to feed our young imaginations with. One she told might be called . . .

The Headless Hunter

Way back in the late 19th century, two teenage boys were hunting deer on the end of the ridge above the railroad tracks. When darkness came on, they started down the knife-edge toward their homes in Upper Tyrone Forge. Only one boy carried a carbide lamp, but the other walked confidently in front, shotgun slung over his shoulder. When he tripped over a root in the darkness, his gun discharged, blowing the other boy’s head off. For ever after, until the last house along the crossing was abandoned in the 1960s, folks in Upper Tyrone Forge said they could look up at the mountain on dark nights in late October and see a light moving through the woods where the dead hunter was still looking for his head.

For another of Margaret’s “Legends of Plummer’s Hollow,” I’m indebted to the superior memory of my brother Steve:

The Phantom Fallen Woman

One summer in the early years of the 20th century, George Plummer brought a mysterious young woman home from Pittsburgh with him, and informed the family of tenant farmers living in what we now call the Guest House that she would be staying in the main house for the rest of the summer. They thought it peculiar that she almost never showed herself outside during daylight hours, spending all her time in the dark, upstairs bedroom at the north end of the house. It seemed that she had musical training of some sort. Mr. Plummer – by this time, a wealthy man – bought a small church organ at auction and installed it there for her, and the tenants told Margaret’s mother that they often heard her playing the organ and singing concert music in a fine soprano voice.

Late in the summer, the reason for her visit leaked out: she was unmarried and with child, and as a friend of the family, it was said, she had been invited to spend her period of confinement in the welcome solitude of Plummer’s Hollow, far from wagging tongues. She gave birth to a child at the end of the summer and returned to Pittsburgh, where she died shortly thereafter. (My brother says Margaret was fuzzy on the details: how she died, and whether the baby lived.)

In the years following her death, a number of families living in the tenant house reported hearing the sound of an organ coming from that upstairs room, though oddly this never happened during the summer, when people were living there, only in the long months when the house was shuttered up. As late as 1970, someone walking across the back slope claimed she heard the unmistakable sound of a woman’s voice singing a very strange-sounding song with words she couldn’t make out. She was frightened out of her wits and fled down the hill as fast as she could run.

With the arrival of the Bonta family in 1971, as my brother put it in an e-mail, “the unquiet spirit of the fallen woman seems to have found peace.” We have never seen or heard anything uncanny here in all our years of occupancy.

Well, almost nothing. Living in the aforementioned Guest House – also once thought to harbor a ghost – I have grown accustomed to a huge range of noises that might spook a visitor. The house was built in stages in a rather haphazard fashion, which resulted in an unusual number of crawl spaces above, below and between sections. I’ve gotten used to scraping, sliding, chewing, and tapping noises, things that go bump and things that chatter their teeth, things that wail and whimper and moan. I generally ascribe the uncannier noises to either raccoons or porcupines; the others could be anything from mice to woodchucks, bats, flying squirrels or one of three species of snakes that I know share the house with me. When it gets really cold in January, the plank walls can pop audibly as they contract. And once in a rare while, I do hear a sound I simply can’t place. Sometimes, the hair rises on the back of the neck despite my best efforts to laugh it off.

I guess we’re a lot less fearful about living way out in a lonely, northeast-facing hollow than a lot of folks might be. One of my cousins from suburban New Jersey won’t spend the night in our guest bedroom because, she says, she finds the silence itself unnatural and unsettling. To us, living with an interstate right over the ridge to the west and a noisy quarry to the east, it’s never quiet enough. We mourn the fact that generations of fearful white folks with guns have left us such a tamed and diminished land. This mountain probably hasn’t had any rattlesnakes in a hundred years. Until the late 1980s, black bears were a rare sight. One of the last wolves in Pennsylvania was shot on this very mountain back in the 1870s or 80s. Coon hunters still scare themselves with tales of coyotes following them and their dogs through the woods at night, their howls growing nearer and nearer . . .

Our own hunter friends are pretty commonsense folks, but they never mind telling a good story on themselves. One of them, Jeff, once told me about an incident that befell him early one morning, well before daylight. He had parked at the bottom and was climbing the side of the hollow, heading for his tree stand, when he heard something rustling close behind him in the dry leaves. As soon as he stopped, the noise stopped. He started up the hill again and there it was, following just as close. He walked faster, but whatever it was kept right up. “Finally I was just running, you know, but I got out of breath and had to stop. That’s when I noticed there was a long strap hanging out of the back pocket of my coat!”

His brother Troy told a more spooky, but still believable, tale about a time when he was still-hunting for turkey, leaning up against a tree over in Margaret’s Woods, dressed all in camouflage. Suddenly he heard a loud voice: “You can’t hide!” He looked all around, but nobody was there. Then he heard it again. “You can’t hide!” It was coming from right overhead! He looked up into the branches of the tree, and there was a crow staring back at him. It cawed as if it were laughing at him, then flew away.

Troy is not a man given to wild flights of imagination. “I ran back to the truck,” he told us, “and when Paula come down, she seen right away something wasn’t right.” “He was white as a sheet!” his wife confirmed, adding that she made him tell the tale a number of times before she finally believed him. They both seemed relieved when my dad described a talking crow he had seen as a kid. “It’s probably someone’s pet that escaped,” he said – and thus another potentially supernatural story was brought to earth.

*

Margaret’s house has stood empty for over a decade now. We were able to buy the property when the lumberman was done with it, and we maintain trails and a parking lot for our hunter friends over there. Kids from the valley have snuck up and gone through the place at least once; Dad and I boarded up the windows and doors to try and prevent liability in case of an accident. Even before that, it was depressing to go in there, with the moldy flotsam from two generations of lonely and impoverished mountain people scattered all around. Margaret was, in life, a paranoid and suspicious person with a great local reputation for shooting first and asking questions later. According to a now-deceased hunter friend of her brother’s, some prostitution went on in the house back during the Depression. (I’m paraphrasing; the exact words were, “They used to run a cathouse up there, you know!”) But for all that, as far as I know, no unquiet spirits have been seen or heard there in the thirteen years since Margaret died.

LEAVINGS

1.

Over the years we bought it piece by piece,
this hollow that still bears the name
of its 19th-century homesteader on the topo maps.
Lawyers framed the title transfers in proper terms
& the county courthouse took note,
whiting out the now-redundant property lines
on its own maps that admit no extraneous detail:
no creeks or contours that might signal a watershed,
no shading (say) to plot the alternation
of field & “unimproved woodlot,”
the land parceled out in jagged shards.

But for all that our deeds were driven
by our love for the uncut forest, who are we
to put our name down here as if
it were some magic seed that could set
root overnight? It’ll take us years
to grow out of our wariness,
skulking like feral cats around Margaret’s place.

2.

Twenty years ago, in the flush of first purchase,
in between battles with blizzard, flood & drought
my father followed every lead
through a century of local newspaper files & tax records,
unearthed the barest of clues to the hollow’s history:
Margaret’s artist mother must’ve
married a ne’er-do-well, for she had
half her land lumbered in 1901 to pay
back taxes, & sold the other half for a song
to settle a grocery bill, her own
uncle Jacob calling the tune.

The scarred land healed. By the 1970s
the third-growth woods gave ample cover
to the shadiest of dealings,
bore witness to a separate truth – soon enough
to be violated in turn. While each
of the two elderly cousins – arrogant
nouveau riche and “poor white trash” –
ravaged by alcoholism, however genteel –
strung up for us the other’s skeleton
in a common closet of lies.

3.

One hot June morning I amble over,
shovel in hand. You never know,
treasures of dubious lineage keep turning up.
Like its late occupant the place still holds
a few cards close.

Below the house the huge
catalpa tree’s in bloom, littering the driveway
with pale monkey-faced blossoms,
& the other catalpa up by the outhouse
harbors in its dense shade a weed-free iris bed
& a mob of sweet william gone native
with multihued abandon. At 96 degrees Fahrenheit
the cumulative scent from the yard becomes
an almost visible miasma.

I nose about the grounds, sizing up
the ancient fruit trees:
Keifer pear, a thicket of plum,
Concord grape on a stalwart trellis,
a half-dead quince
& the sprout-clogged branches that already droop
with this year’s apple crop:
Baldwin. Pippin. Winesap. Smokehouse.
The mottled trunks of these last survivors
from an orchard abandoned in the ’40s
could exhaust an artist’s palette.

The house has proved less hardy.
Two winters of heavy snows & a rampant wisteria
have conspired against both porches,
& the whole back half of the house
meanders on a collapsed foundation,
senile with rot.

4.

Fifteen feet away I come to a stop.
Memories of Margaret’s ghost stories
from childhood Halloweens
are summoned up by a multiphonic hum
and an odor overpoweringly sweet.
I look up: honeybees beard the attic gables
crowding the cracks like subway commuters at rush hour.
These are, no doubt, distant descendants
of the bees Margaret kept for decades
in boxes above the orchard – my pets,
she used to laugh. I press my ear
against the faded clapboard
to listen to the roar: no seashell’s
echo of my own bloodsurf, but the actual
pulse of the house, murmuring
like an industrial loom from
the gentle fricative welding of warp to weft.

I step back to watch the bees.
After a while I start to see a pattern
in their lines of flight, spokes
of a spinning wheel drawing in nectar
from every blossoming corner of the yard.
The hive couldn’t have found a fortress
more impregnable to marauding bears
than these catacombed walls.
From every crevice their coffers overflow
& Margaret’s house weeps honey
the way a tree leaks sap.

5.

Groggy from the heat, awash in sweat
I resume my walk, if only for
the illusion of a breeze. A pool of shade
beckons from behind the tumbledown shed
where the steel-ribbed frame of a chaise lounge
flowers orange with rust.

I weave through the trees above the spring,
leap the low mound with its stray runners
of barbed wire marking the old line
& plunge into the field, a cloud of pollen
from the brome as I swing my shovel,
clean blade catching the sun.

“Alone in the world”: hill country women

I wrote the following poem back in 1992. My mother included it on the dedication page of her book Appalachian Autumn (University of Pittsburgh Press, 1994), a synoptic nature book that included a description of the clearcut logging of a 100-acre portion of Plummer’s Hollow that had once belonged to the McHugh family.

PLUMMER’S HOLLOW ELEGY
in memoriam Margaret McHugh

When her mind went they took her away
from the house in the hollow where she’d lived
forty years in combat readiness
with her dog & her shotgun, a color TV
& her dead brother’s artificial legs standing
guard at the top of the stairs.

Her ancestors’ land had been sold out from under her
& clear-cut by the absentee owner
who couldn’t be bothered with a mother’s deathbed
commandment half a century old:
Don’t let anyone lumber the mountain again.
She’ll never survive a third cutting
& neither will you.

*

From the other end of Appalachia, in northern Georgia, here’s an excerpt from an interview with Anna Howard, 93 at the time (1973, or a few years before: this was included in Foxfire 2, edited by Eliot Wigginton and published by Anchor/Doubleday). For all you city people, “locust” refers to a very hard wood, black or yellow locust, often used for fence posts because of its resistance to rot. The oldest portion of my house, built right after the Civil War, rests on a sill of locust instead of a rock foundation. The bark is still intact.

“A STAKE THAT WON’T BUDGE”: Anna Howard

God can put it on your heart or mine anything he wants you t’do, and I know he can. He has mine. Pray about things you don’t know what t’do about. It’ll come to you just as plain.

And I try t’be all th’same alike. I don’t talk about people. I don’t say no harm about nobody and all they do. It says in th’Bible t’do unto others as we wish t’be done by, and I feel that way about that. And I feel like if you’re in earnest and got faith in th’Lord and ask him for anything, he’ll put it right in your mind. . . .

Kindness and love is th’main thing. Now that’s my advice. It’s good to know you got a friend. It’s love. Just like I made [a friend] out of you. I see people that their looks and their ways just a’gives t’you, and you love ’em. And th’next time you see’em, you love’em better.

I’ve not had too much of a happy time since my old man died. And after my children left, I just felt alone in th’world. And when all my people died – everyone that passes on out, I just feel like I’m further and further away. Yes, sir.

So now I knit socks a lot. I just love t’do that. If I ain’t got anybody t’talk to me, now I’m bound t’have somethin’ in my fingers. If I’m able t’hold my head up, I’m bound t’have somethin’ in my fingers t’employ my mind. . . .

I’ve been made fun of for bein’ old-fashioned, but it don’t matter t’me a bit in th’world. If anyone tries to run over me, they’ll find they’ve run up against a stake that won’t budge ’cause it’s made out a’locust! I’ve always done th’work of a man. God’s been good t’me. He’s given me strength.

*

My grandmother was a far less god-fearing woman. She grew up in northeastern Pennsylvania: still very much in the Appalachians, but culturally closer to New England than Appalachia. This portion of the state was largely settled by pioneers from Connecticut in the 18th century; my grandmother’s people were among those settlers.

Although Grandma was a very reticent person, she was always kind toward us kids, teaching us how to draw and helping with other craft projects. She was fairly intellectual, and much more adventuresome and open-minded than her husband, my grandpa. A four-month sojourn in Peru with my parents a few years before her death may have been the high point of her life. I wrote the following poem in her voice shortly after her death; it may or may not accurately represent her view of life. I felt justified in taking the liberty because, of all my immediate relatives, she is the one I most take after – with a little bit of my other grandmother’s more acerbic personality thrown in.

DREAMER
in memoriam Margaret Ide Bonta

I spent my tomboy girlhood on horses
rambling through orchards & the molehills
we fancied mountains, just south
of the glacier’s plow line. My brothers
taught me all the arcana of knots & hitches
I call to mind now, tied to an oxygen tank,
the transparent umbilicus bridled to my nostrils.

The man I married grew up in town
& loved the country for its range of practical puzzles.
But for my part, I preferred the ocean’s
implausible clues: polished stones & glass & wood
on a beach asymptotic to the hyperbole of waves,
tidepool anemones like stars collapsing, turning inward,
conch & clamshell pressing their ears to the sand.

All the men of my family were hardheaded Methodists
for whom speech was more vital than prayer.
But I always found piety jarring–the minister’s
baited candy. Like the scent of a bear in the barn
one day as I rode my favorite Clydesdale in,
standing barefoot on his back like a circus performer,
reins in one hand. When that massive
draft horse shied he sent me flying, really flying,
ponytailed hair & calico skirts ballooning.

My sister & I were like that: we smoked,
we drank a little, we rode along behind
on our brothers’ motorcycles. But when
it came time to marry, we did. Hank & I settled
in calm suburban waters, had three sons–
if I’d had a daughter, I wouldn’t have known
what to do! And when he retired, we bought
a small house on the ocean, ‘way down south–
a house built on sand, true,
but protected by seawalls from the storm surge

until these last couple years when everything
got me at once, & the songs my mother
sang to me in the crib
suddenly after all this time pop into my head.
It’s as if you were to find a bottle, say,
on the high tide’s windrow–& the message inside
were written in your own hand,
in childish shaky letters.
I just lie here humming & wondering where I’ve been.

I’m in pain, of course, but it’s not so bad
that they have to take me out back & shoot me
just yet! The main thing is, my mind’s still clear,
neither too fast nor too slow. Makes me think
of my favorite Robert Burns song, do you know it?
“Flow Gently Sweet Afton.”

Well, we don’t need to sing the whole thing now.
There’ll be plenty of time later, when I’m gone.

*

The folklorist James York Glimm has written two books on central and north-central Pennsylvania; the following selection is from his second, Snakebite: Lives and Legends of Central Pennsylvania (University of Pittsburgh Press, 1991). Glimm writes, “Storytelling has sometimes been assumed to be a man’s province, but I have found that women informants have at least as much to say and can tell stories just as well. . . . As a younger man I was more interested in the frontier hunting and fishing stories that men like to tell. Women don’t tell many hunting yarns, but they tell other kinds of stories that give a detailed and personal picture of the world they lived in years ago.” One of the exceptions to this rule was 82-year-old Catherine Voce, who reminisced happily about living in a cabin ‘way up on a mountainside in the 30s, growing most of their own food and hunting deer with her husband. This is the conclusion of her interview with Glimm.

SHOOTING THE NEIGHBORS: Catherine Voce

If I were young again and had wings to fly, I’d fly back up on the mountain above Rock Run and live in our cabin. When you’re young and in love, it makes all the difference. All I heard were the birds, a distant cowbell, and sometimes the S. and N.Y. whistle when the wind was right. I was in love and I was happy.

That’s enough talk. Let’s go outside and stretch a bit. I’ll show you my garden. Maybe I can get that other woodchuck that’s been eating me out of house and home. Hand me that four-ten over there, and watch out, ’cause it’s loaded.

Now, here’s where Mr. Coon comes for his cat food every night. I ought to shoot him, but I can’t. He’s so big. Sits here outside the screen door and licks his paws and goes, “Mmm yum, yum, yum.” Lately he gets here early, or Mr. Possum will beat him out. Quarter to nine. Now this is my sweet apple tree. The porcupines love sweet apples. Two years ago I killed so many I stopped counting. Maybe seventeen. They come off the mountain and wake me up at night with their weird sounds. Did you ever hear them? It’s a “Wee-wee-yum-yum-yee-yee-mum-mum” noise, like that, and I don’t like it. So I get up in the night with my .410 and my flashlight and shoot them. One night I got six. I buried them behind the barn in the soft soil. No, I don’t like porcupines. Come on. Keep low and quiet and maybe we can get a shot at Mr. Woodchuck.

It’s so overgrown around my garden, I can’t keep up. There are currants, asparagus, potatoes, garlic, and tomatoes. Now, look inside that pen. Just look at that lettuce. Oh! He’s eating me out of house and home. I put boards up and he goes right under – look at that. Watch out – I’ve got a muskrat trap over there. One way or another, I’ll get him. That? Oh, that’s just a black snake. Leave him. He’s OK. Here, take some garlic home with you.

*

Finally, a selection of Appalachian women’s voices wouldn’t be complete without the West Virginia poet Louise McNeill (1911-1993). In the last years of her life she and editor Maggie Anderson collaborated on a volume of new and selected poems, Hill Daughter, published by (who else?) the University of Pittsburgh Press in 1991.

Anderson notes in her introduction that “The work of many writers from the southern Appalachian Mountains is a record of painful journeyings, away from what Kentucky poet James Still has called ‘the earth loved more than any other earth,’ off to the bright promise and the brighter economies of the cities. Louise McNeill’s life and work reflect those journeyings. The ‘paradox,’ as she has named it, is, in part, that the very opportunities that call mountain writers away from home also cut them off from the deepest sources of the writing itself, from its original impulses in a beloved place and people.”

McNeill’s poems are, in a word, devastating.

POET
by Louise McNeill

I am the trajectory and flight –
The archer, arrow, and the bow –
The swift parabola of light –
And I the rising and the flow,
The falling feather of the cock,
The point, propulsion, and the flood
Of blackbirds twanging from the nock,
And I the target and the blood.

*

WARNING
by Louise McNeill

Walk through the fern but do not tear the root.
Rest on the stump but count no ring of age.
In rotting wood see neither hint nor sign,
Nor translate from the oak leaf’s fallen page
One mystic line.

Look at the wheat field, see it blade and straw,
But neither bread nor sealed-in germ nor shadowy reaper –
Leave the close ground its anonymity,
Such knowledge to the blind mole and the worm –
The gray night-creeper.

Leave the enigma to the close-lipped dark;
Beyond your fenced-in land do not inquire –
For things there be best hidden:
Light that only the blind should see –
And over the hills in that far country
Truth bare, forbidden.