So as luck would have it, the Juniata Valley Audubon Society‘s first lawsuit is happening under my watch as president — this despite the fact that in my personal life I avoid confrontation like the plague. Fortunately I’m not the point-man here, and today I was happy to use my presidential authority merely to insist upon shooting a video of the real heroes of this fight (as well as to record some audio, which I hope to share eventually as a Woodrat Podcast episode).
The video wasn’t very eptly shot, but what the heck. It’s JVAS’s first official video, and I figure we have to start somewhere. It features Mollie Matteson, Conservation Advocate for the Center for Biological Diversity, and Stan Kotala, JVAS Conservation Chair, member of the Pennsylvania Biological Survey’s Herpetological Technical Committee, and general bad-ass.
Built 1844-48 by Richard Turner to Decimus Burton’s designs, the Palm House is Kew’s most recognisable building, having gained iconic status as the world’s most important surviving Victorian glass and iron structure. —Royal Botanic Gardens, Kew: History and Heritage
I’m still slowly processing photos from last month’s trip. As with the audio podcasts, what took two weeks to record will take at least two months to polish and share. But this is why we travel, isn’t it? And I’ve enjoyed reliving the memories of those few hours in North London’s Highgate Cemetery, a place devoted to memory — and the memory mostly of Victorians and Edwardians, at that. I would have to think the majority of its tenants would be pleased with its Tintern Abbey-esque atmosphere of romantic, ivy-clad ruin. I was certainly charmed myself. Stone angels that probably would’ve struck me as unbearably sentimental when they were new moved me to take photo after photo with their broken limbs and eroded faces. I hate the whole idea of angels, really. But an armless angel fallen face-down in an untended grave is a scene worthy of the cover art for an album by Sepultura or Entombed (bands I happen to like, by the way). So I guess I do have my sentimental side.
Space is of course at a premium in the British Isles; except for Karl Marx and a very few other elite tenants, the dead don’t seem to get any more elbow room than riders on the Tube. The great novelist George Eliot was shoved in there like everyone else, a few yards away from a small new neighborhood of Iraqi and African communists. This chaotic comradeship of the deceased invites alternate histories, the way memories freely associating in the mind find their way into new stories and poems. And the peculiar rituals we engage in to keep memories alive were much in evidence: one grave plot was littered with fresh oranges, another with pieces of dark slate, and still another with rose petals. Note the wash bucket on the recent grave of Iraqi Kurdish poet Buland al-Haidari — no doubt as potent a reference to his life and work as the dolphin figurine on Douglas Adams’ gravestone.
Highgate’s East Cemetery is, as far as I’m concerned, the way a proper cemetery should look. My maternal grandparents, Nanna and Pop-pop, are buried in a cemetery a few miles from here, and I don’t know how typical this is of contemporary American burial grounds, but the management only allows one kind of grave marker: the kind that’s flush with the ground. No plantings or offerings of any kind are permitted; even plastic flowers and grave blankets will be removed immediately. Why? Because such clutter interferes with the central mission of keeping the grass mowed. This is a final resting-place for those who worshipped at the altar of anesthetic cleanliness — which would certainly describe Nanna. She didn’t even like having book shelves in her house, because they were hard to dust! If Nanna knew how much I enjoyed Highgate Cemetery’s rampant ivy and brambles, she would roll over in her grave.
(l-r) Clive points out hart's-tongue fern; Jack on bridge over Ystwyth; sand martin nests in the riverbank; Basil the Shetland pony; Clive in front of his painting "Green George"
The conclusion of our May 5 walk around Clive’s neighborhood in rural Wales, near Aberystwyth. (It should stand on its own, but do listen to Part 1 if you haven’t already.) I’m grateful to Clive for taking the time to show me around in the midst of frantic preparations for the launch of his retrospective exhibition just two days later (for more about which, see the series of posts on his Artlog). We’re also lucky he’s such a great communicator, because as the naive quality of my couple of questions about his painting demonstrate, my general knowledge of art is woefully inadequate. Nevertheless, somehow this walking conversation with Clive has turned into one of my most satisfying podcasts to date, I think. Give a listen.
As I drank my coffee this morning, an odd, almost repulsive idea occurred to me: wouldn’t it be awesome — or something — to interview people who hate me or my work for an episode of the Woodrat podcast? Continue reading “Flirting with toxicity”
Ty Isaf is not merely a postal address and a property of moderate grandeur and repute; it is also a work in progress, a collaboration between Clive Hicks-Jenkins, Peter Wakelin, their team of highly skilled workmen, and the various wild and domesticated beings they share the property with, including a small colony of pipistrelle bats in the attic and a noisy rookery in the treetops adjacent to the house. Continue reading “Visiting Ty Isaf”
(l-r) view of Llanilar, Clive and Jack at table, three Welsh cows
Join me for a walk with the Welsh artist Clive Hicks-Jenkins and his dog Jack. Clive and his partner Peter Wakelin live a few miles from Aberystwyth in a beautiful old place called Ty Isaf, which I’d been reading about on his Artlog for a couple years now, and was lucky enough to visit — and even stay three nights in — earlier this month.
I thought it would be fun to record a tour of Clive’s neighborhood for the podcast, allowing us to hear how a major artist relates to, and finds inspiration in, the land and people around him. For those unfamiliar with his work, it’s worth mentioning that specific places have always featured prominently in his paintings. Even elements which I had assumed to be fanciful, such as castles beside the sea, turn out to have been common features of the local and regional landscape. (For more on the sense of place in Clive’s work, see the essay by Andrew Green, “The Place of Place,” in the new monograph simply entitled Clive Hicks-Jenkins, from the British art publisher Lund Humphries in cooperation with Grey Mare Press.)
Be sure to check back next weekend for the conclusion of our walking conversation, in which I prompt Clive to talk about his journey from the theater world to art, what he looks for in painting, and more.
Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence).
Time-travel isn’t all it’s cracked up to be. Shortly before I left, I heard a mention on the radio about the effects of jet lag on memory — it sounds worse than marijuana by far. I heeded the advice to expose myself to plenty of sunshine, though (I was fortunate that my visit to Wales and England coincided with an unusually sunny period) and managed to reset my body clock fairly quickly. What I didn’t get used to was the longer day. I would wake up when the blackbirds started singing at dawn and discover that it was only 4:30 in the morning.
Traveling home, of course, I got back the time I lost on the flight over. It was just about the longest morning of my life, starting at midnight when I was en route on the express train from London to the Birmingham airport, continuing for many hours at the airport lounge (I didn’t bother getting a motel room), and then on the flight itself, which left at 9:00, lasted for seven and a half hours, and arrived at noon. I had a window seat at the very back of the plane, and spent much of the time gazing at the tops of clouds from 35,000 feet in a state of mild stupefaction, the combined effect of sleep deprivation, a recently contracted head cold, and the sheer wonder of it all.
The plane was a Boeing 767 and bucked and heaved a lot more than I remembered from my previous intercontinental flights on 747s, and this combined with the wave-like tops of the clouds made it feel almost like a sea voyage. From time to time I’d switch on the screen in the back of the seat in front of me to check our position and verify that we were, in fact, hurtling along at 500 miles per hour. I thought back to my very first day in Wales, when I got a chance to ride in a small, flat-bottomed boat known as a coracle, a version of which the Irish St. Brendan supposedly crossed the North Atlantic in. Thousands of newly hatched mayflies were rising off the river as we took turns trying to pilot the rudderless, slow-going craft against the current.
The boat had just been made two days before by John and Cathryn Warren, the next-door neighbors to my hosts in Wales, Clive Hicks-Jenkins and Peter Wakelin (that’s Peter in the coracle after me; Clive’s voice is in the soundtrack, and he did the filming while I took a turn in the thing). I had simply happened to mention that a good friend of mine in the States was crazy about coracles, and asked if they knew where I might see one.
Somehow the unreality of flying across the Atlantic in a few hours was balanced by the unreality of having my desire to see a coracle instantly granted, sitting in it and finding myself unable to go anywhere very quickly except in circles. In fact, at that moment, there was nowhere I particularly wanted to go. Though the ancient ocean-going coracles did probably have rudders (and according to The Voyage of St. Brendan, could be fitted with a sail), their relative unsteerability constituted part of their attraction to Celtic monks, for whom the ideal form of travel involved surrendering to the will of God and going wherever the winds and currents took them. Some of the more God-besotted ones set off without even an oar. I could see their point. Almost everything — trees, wildflowers, birdsong — was new and miraculous to me, and I wanted nothing more than to stop and soak it in.
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UPDATE (5/19): I’m honored to report that this post has spawned not one, but two responses from my friend Kristin Berkey-Abbott. Check out “Coracles and Communication,” which includes a poem called “Coracle of Prayer,” at her personal blog, and “Coracles and Currents” at Liberation Theology Lutheran.
London at night, from the top of a double-decker bus
I was woken at 6:37 a.m. by a nearby police siren. This wouldn’t seem so remarkable if I were still staying in London, or Aberystwyth, or Brooklyn, but I was home in my own bed in Plummer’s Hollow. Why had my unconscious mind decided to awaken me in this manner? I pondered it briefly, turned over and went back to sleep.
English harbour (from the collection of Clive Hicks-Jenkins)
When the plane lifted off from the Birmingham airport Monday morning and flew west over the English and Welsh countryside, I got a brief view of fields and villages dwindling below before the clouds closed in. Picturesque, bucolic? You bet. I felt a pang of sorrow to be leaving my friends — old ones and newly made alike — and wondered when or if I’d ever visit the UK again. But many hours later, as I stared through the bus window at the lush and seemingly uninhabited forests of northeastern Pennsylvania, groggy as I was from almost two days without sleep and a recently contracted head cold, my spirits soared. This was exactly the way I used to feel years ago in Japan, whenever I’d escape the city and take a train into the mountains: giddiness, as if meeting an old flame, combined with a sense of deep satisfaction. Yes, Wales was green, too, but much of that green was pasture; the mostly bare, sheep-haunted hills struck me as stark and sad.
marionettes from the collection of Clive Hicks-Jenkins
I like cities, I really do. While killing time in Manhattan yesterday afternoon, I paid to enter the subway and just sit on the platform for a while, enjoying the ambient soundscape, eavesdropping and people-watching. Few people anywhere are as flamboyant and interesting as New Yorkers. The thunder of the trains approaching and receding in their dim burrows evoked the romance of travel as well as anything, I thought. It seemed an appropriate coda for the trip, which had begun with a visit to an old friend in Brooklyn on May 1.
Piano-shaped tombstone at Highgate Cemetery, London
When I finally dragged out of bed this morning and sat out on the porch with my coffee, though, I was gobsmacked. I’d gotten home late the previous night, so this was my first good look at the mountain, and man, did it ever change in the last two weeks! The oak leaves were just beginning to burst their buds when I left. Now the edge of the woods is once again a solid wall of green, the grass is high, and birds I haven’t heard in more than half a year were calling in the rain: yellow-billed cuckoo, red-eyed vireo, Baltimore oriole. I heard a scarlet tanager’s chit-bang call, followed a few seconds later by a cameo of the singer himself on a black walnut branch, an ache of red against the greenery. A hen turkey clucked nearby, presumably with chicks somewhere in tow. Huge success as the trip may have been, I’m glad it didn’t last any longer than it did. It’s good to be home.
For a different recollection of my trip, from one of my hosts, see “Boots” at twisted rib blog.
Harold as a boy, left, and in the center front of the photo on the right, with his brother and father, both named Walter, his mother Georgina Dresch, and his grandfather Valentine
Harold C. Myers (1914-2003) was my maternal grandfather, A.K.A. Pop-pop. Today I present part of an interview my brother Steve tape-recorded in 1997, subsequently digitized by Jeff Suydam. Pop-pop’s description of his childhood, first in the little “coal patch” called the Vulcan on Broad Mountain near Mahanoy City, then in the steel town of Pottstown, Pennsylvania, is full of great details about the way people used to live, and the way boys in particular used to almost raise themselves, spending many days away from home on fishing or berrying expeditions, or building go-carts and pipe bombs and generally running wild. Pop-pop was unusual both in his love of reading and his love of the outdoors, two things he definitely imparted to his oldest daughter, my Mom. I’ve selected and edited the best parts of his earliest memories, and really wish we’d been able to record more. If you have elderly relatives or neighbors whose stories have never been recorded, I hope this will inspire you to preserve something before it’s too late.
