Abundance

As this anxious summer wears on I've been making regular visits to a little pond not far away, one that, in spite of its diminutive size, hosts an astonishing array of wildlife, all of it unconcerned with our troubles. In addition to hundreds if not thousands of frogs of various sizes, which dash into the water with cries of alarm as I circle the shore, there are snapping and painted turtles, at least one water snake, small fish, and several species of dragonfly. As I arrive great blue herons fly up, issuing unearthly raucous cries, and rabbits, deer, and wild turkey browse the adjacent meadows.

The rabbits have apparently become accustomed to human presence and continue nibbling until I'm almost on top of them, a complacency that may be ill-advised as there are foxes, coyotes, and other predators in the vicinity. The dragonflies don't seem to care much about me either; they dart about, carefully avoiding hungry mouths lurking below the surface of the pond, and rest here and there on rocks and vegetation, only flitting away when I come within an arm's length. The green one immediately below is (I'm told) a female eastern pondhawk, which is a wonderful and appropriate name, for this is very much a hunting creature.

The frogs must be the keystone species here, their sheer numbers guaranteeing their own perpetuation as well as the survival of those who prey upon them. Over the past weeks the young ones have been slowly metamorphosizing from tadpoles. Some are still confined to the water, while others now hop about, soon to lose the remnants of their tails. They're utterly absurd creatures, and as such instantly recognizable as our kin.

The Chaos of the Age (Leo Perutz)

(The Emperor Rudolf II addresses his lover, by means of a mutual dream.)

"In the dark hours of the day, when the chaos of the age weighs on me like a nightmare and the noise and bustle of the world is about me with all its perfidy and cunning, its lies and treachery, my thoughts fly to you, you are my comfort and consolation. With you there's clarity, when I'm with you I feel as if I could understand the way of the world and see through the lies and penetrate to the truth behind the perfidy. Sometimes I feel lost and call you, call you aloud, though in such a way as not to be overheard — but you don't come. Why don't you come? What holds you back when I call you? What prevents you?"

No answer came.

— By Night Under the Stone Bridge

Signs of the times

Dreaming Again (Zachary Richard)

From singer, musician, bilingual songwriter, and all-around good guy Zachary Richard, a beautiful, moving, and timely new song of hope. Downloads (here) benefit the New Orleans Musicians' Clinic.

When the danger at long last is gone,
And peace has returned to this land.
When we can all embrace without fear or disgrace
And all come home safely again.

I hear the thunder, and I am afraid,
Of the darkness that seems not to end.
But then I remember that you are always with me,
And I go back to dreaming again.

Quote of the day

Robert Hendrickson, Rector at St. Philip's Episcopal Church in Tucson, Arizona (via Daughter Number Three):

This is an awful man, waving a book he hasn’t read, in front of a church he doesn’t attend, invoking laws he doesn’t understand, against fellow Americans he sees as enemies, wielding a military he dodged serving, to protect power he gained via accepting foreign interference, exploiting fear and anger he loves to stoke, after failing to address a pandemic he was warned about, and building it all on a bed of constant lies and childish inanity.

I can't even bear to look at the photo in question. It turns out that the last refuge of a scoundrel isn't patriotism after all. I'm not religious and I'm not sure I know what "the soul" means, but I know when someone doesn't have one.

Cypripedium acaule

I'll always associate pink lady's-slipper or moccasin flower with my childhood, because there was a secluded spot in the woods about a mile or so from my house where they could be found quietly growing, if you were observant and if you went at the right time of year. I haven't been back for decades and I have no idea if they're still there, though I wouldn't be surprised if they were. These native orchids require just the right habitat and are said to be extremely difficult to cultivate.

I know of another place where they still grow in relative abundance, though, and over the weekend I trekked into the woods and found several dozen of them in bloom. They're not visible from a main trail, but are easily reached if you happen to know where they are. Two other hikers walked right past them while I was there, but they either didn't notice them or weren't interested (or maybe they were just giving a wide berth to the eccentric kneeling on the ground with a camera).

The white moth on the specimen below is Tetracis cachexiata. I know that fact not because I keep that kind of information in my head, but because an online search for moths associated with the plant immediately brought it up. The moth has been spotted on lady's-slippers many times in various locations over the years, but no one knows quite why. It's not believed to be a pollinator of the flower (which is pollinated by bees), nor does it derive any apparent nourishment from it. One theory is that it obtains some kind of pheromone from the plant. Charley Eiseman at Bug Tracks has more information.

Notebook: Seeing Music

Christy Moore:

When I go to West Clare I can see the music in the hills and stony fields. Today I look out upon the Sheep's Head and over Dunmanus Bay to Mount Gabriel and I can see many things: the beauty of it all, the bay, the beacons — as one man tries to quietly fish in it another hungry man seeks to poison it. I can see God's work everywhere but I cannot see the music. In West Clare you can see the fiddle music, you can stand looking over a stone wall into a poor little field and it is there as plain as day. I saw concertina music on the square in Kilrush in 1964 and the vision never left me. Coming up from The White Strand in Milltown Malbay I met chanter music, and on the windswept Hill of Tulla (East Clare) I met the man that wrote Spancilhill. The music scarpered off the big fields of Meath and Kildare — there is no sign of it at all. I have seen it in Ahascragh too, and above in Ardara and you can plainly see the flute music in Fisher Street. You'd always have a better chance of glimpsing it around stony half acres, but seldom if ever on the ranches brimming with sleek shiny bullocks full of antibiotics and growth hormones. Show me a scrawny auld heifer unable for a bull and I'll show you a slow air with a slip jig traipsing after it. The combine harvesters have driven the music out of the John Hinde-coloured pastures where it has been forced to live in exile in libraries and museums. It needs the birdsong and the meadow to breathe, the wind through the furze, the distant corncrake in the meadow, the smell of the fair day.

From One Voice: My Life in Song (Hodder & Stoughton, 2000).

"Spancilhill" (or "Spancil Hill"): a song associated with Robbie McMahon, a version of which appears on Christy Moore's 1970 album Prosperous. John Hinde was a popular photographer and creator of nostalgic colored postcards.

One a Day

I've never read The Decameron before, but coming across vivid passages from Boccaccio's own introduction to the work quoted in the pages of Philip Ziegler's The Black Death reminded me that its one hundred stories are held together by a frame-tale set in Florence during the bubonic plague outbreak of 1348. Ten well-heeled Florentines, happening to encounter each other in church, resolve to flee together to the countryside, and in the course of their wanderings they relate tales to each other at the rate of one per person per day.

The tales aren't long, and it occurs to me that by slowing down the travelers' pace tenfold I can read a single story every day, leaving abundant time for other reading, and I should be done right around September 1st, at which point perhaps we'll all have a better idea of the state of our current plague, or rather plagues. I'll be reading the Signet Classics version translated by Peter Bondanella and Mark Musa. My copy has a sprinkling of annotations, in ink, by its former student owner, the kind of thing I might once have found irritating but now find adds a level of amusement.

For an update, see: "One a day (conclusion)."

Streetcars (Albert Camus)

The Plague:

During all the late summer and throughout the autumn there could daily be seen moving along the road skirting the cliffs above the sea a strange procession of passengerless streetcars swaying against the skyline. The residents in this area soon learned what was going on. And though the cliffs were patrolled day and night, little groups of people contrived to thread their way unseen between the rocks and would toss flowers into the open trailers as the cars went by. And in the warm darkness of the summer nights the cars could be heard clanking on their way, laden with flowers and corpses.

(Translation by Stuart Gilbert)

The hardest part of The Plague to read at the moment is the chapter in which the narrator recounts the increasingly desperate measures the authorities in Oran resort to in order to dispose of the mounting number of victims. Individual graveside ceremonies — simplified a bit, to be sure, as a concession to public hygiene — give way in time to furtive disposal in a common pit. Thus far it hasn't gotten that bad here, but the very image gnaws away at our complacency. Few notions horrify us more.

Signs and wonders

I've discovered that my old Picassa slideshow of images from the Augsburg Book of Miracles no longer works, but rather than try to recreate it I'll simply post my favorite image (above) and refer the curious to Marina Warner's review (from 2014) at the website of the New York Review of Books. Strange days indeed.

Even to a woman

Ralph of Shrewsbury, Bishop of Bath and Wells, January 1349:

The contagious pestilence of the present day, which is spreading far and wide, has left many parish churches and other livings in our diocese without parson or priest to care for their parishioners. Since no priests can be found who are willing, whether out of zeal and devotion or in exchange for a stipend, to take on the pastoral care of these aforesaid places, nor to visit the sick and administers to them the Sacraments of the Church (perhaps for fear of infection and contagion), we understand that many people are dying without the Sacrament of Penance. These people have no idea what recourses are open to them in such a case of need and believe that, whatever the straits they may be in, no confession of their sins is useful or meritorious unless it is made to a duly ordained priest. We, therefore, wishing, as is our duty, to provide for the salvation of souls and to bring back from their paths of error those who have wandered, do strictly enjoin and command on the oath of obedience that you have sworn to us, you, the rectors, vicars and parish priests in all your churches, and you, the deans elsewhere in your deaneries where the comfort of a priest is denied the people, that, either yourselves or through some other person you should at once publicly command and persuade all men, in particular those who are now sick or should fall sick in the future, that, if they are on the point of death and can not secure the services of a priest, then they should make confession to each other, as is permitted in the teaching of the Apostles, whether to a layman or, if no man is present, then even to a woman.

Quoted in Philip Ziegler, The Black Death.

Adds Ziegler:

The authority to hear confession has, in all periods of the Church’s history, been restricted to the priesthood. To throw it open to laymen and even to women, though not in defiance of canonical authority, was a step to be taken only in case of extreme emergency. It was a confession on the part of the Church that the crisis was out of control and the normal machinery no longer able to cope with it.

Though Ziegler's volume was published in 1969 and there have been many other books on the subject since that time, it remains highly readable and in print. A young man when he wrote it, the author has gone on to write numerous other books and is still alive as of this writing.

Cabin fever dreams

Lockdown + one month, and counting.

Monumenta slavica

More than fifteen years ago I posted a brief note about the Balkan folk-song "Mečkin Kamen" (The Bear's Rock) and its commemoration of the 1903 Illinden uprising in what is now North Macedonia. I included an image of the spomenik (monument) at Kruševo, which memorializes the same events. Today I discovered that an American biologist named Donald Niebyl has spent several years compiling a lavishly-illustrated database of similar monuments throughout the former Yugoslavia.

Unlike the Illinden spomenik (which he includes), most of these memorials (one example is shown above) commemorate the anti-fascist struggle in the Balkans during World War II. Constructed largely between 1960 and 1990, these oddly-shaped Brutalist structures are now often in disrepair. Sometimes atrocious in isolation, they can be uncannily evocative when viewed in their surroundings.

A related book, Spomenik Monument Database, is available from FUEL Publishing.

"Humility and Authority"

Ireland's TG4 has broadcast a superb documentary about the master uilleann piper Liam O'Flynn, a beloved figure whose modest manner coexisted with a deep sense of responsibility to the musical tradition that he inherited and expanded. Presented in Irish (with subtitles) and English, and featuring commentary from his wife, band mates, and friends, as well as a generous sampling of his music, it will be available online for the next month or so. Don't miss it.

Update: TG4 now seems to be making this available indefinitely.

Social distancing tip

Herodotus:

The Carthaginians also tell us that they trade with a race of men who live in a part of Libya beyond the Pillars of Hercules. On reaching this country, they unload their goods, arrange them tidily along the beach, and then, returning to their boats, raise a smoke. Seeing the smoke, the natives come down to the beach, place on the ground a certain quantity of gold in exchange for the goods, and go off again to a distance. The Carthaginians then come ashore and take a look at the gold; and if they think it represents a fair price for their wares, they collect it and go away; if, on the other hand, it seems too little, they go back aboard and wait, and the natives come and add to the gold until they are satisfied. There is perfect honesty on both sides; the Carthaginians never touch the gold until it equals in value what they have offered for sale, and the natives never touch the goods until the gold has been taken away.

The Histories

Necessary stories (Eduardo Halfon)

Eduardo Halfon:

You won’t write anything about this, my father asked or said, index finger raised, his tone somewhere between a plea and a commandment. I thought about replying that a writer never knows what he’ll write about; that a writer doesn't choose his stories, they choose him; that a writer is but a dry leaf in the breeze of his own narrative. But fortunately all I did was finish the wine in three long swallows. You won’t write anything about this, my father repeated, his tone more forceful now, almost authoritarian. I smelled the alcohol on his words. Of course not, I said, perhaps sincere, or perhaps already knowing that no story is imperative, no story is necessary, except the one we’re forbidden from telling.

Mourning; translated by Lisa Dillman and Daniel Hahn

Though the Spanish text from which the above was translated appears on the back cover of the original Libros del Asteroide edition of Duelo, it's a "deleted scene" that doesn't appear inside the covers of either the Spanish or the English edition. It was provided by the author to the online magazine Stay Thirsty.

More on Eduardo Halfon.

Brief encounter

If you haunt the woods on a regular basis you get to recognize the sounds animals make when they're disturbed by your presence. No need to turn your head at the light bounce on dead leaves: that's a grey squirrel. Deer, naturally, make a heavier sound, chipmunks a lighter one, generally punctuated by an alarmed "cheep," and predators, designed for stealth, may be all but silent. But when I heard the animal shown above darting along a stone wall, I knew instantly that I was in the presence of something else. I turned and saw a brown form, squirrel-size but unmistakably not a squirrel. In a flash it disappeared and I didn't expect to see it again, but I clicked on my camera just in case, zoomed onto the last place it had been visible, and after a few seconds it popped out and looked in my direction, curious to see what I was about.

Weasels get a bad press; we speak of "weasel words" and "weaseling out" and none of these terms is intended as a compliment. But I think they're admirable creatures, even if I wouldn't want to be one of their prey animals (they are quite fierce). They aren't uncommon but they're rarely spotted alive; I've only ever seen one other in the wild, and that was decades ago. There's some question about which species this one is, but it's evidently either what the Brits call a stoat (and we might call a short-tailed weasel or ermine) or a long-tailed weasel.

Coincidentally or not, I spotted this one just a day or so after watching an enjoyable BBC documentary entitled Weasels: Feisty and Fearless, which may be available in some regions for online viewing. If not, here are a few seconds of video of my own, all I could take before the creature vanished from sight.

Notebook: The Line

Herman Melville:

All men live enveloped in whale-lines. All are born with halters round their necks; but it is only when caught in the swift, sudden turn of death, that mortals realize the silent, subtle, ever-present perils of life. And if you be a philosopher, though seated in the whale-boat, you would not at heart feel one whit more of terror, than though seated before your evening fire with a poker, and not a harpoon, by your side.

Moby-Dick

Notebook: Sunday

There's a strange calm today, with some cloud cover but no wind, and the street outside has been largely quiet all day. We're keeping to the house and the back yard of our 50-foot lot. When I took the dog out I heard a lone airplane passing overhead, one of the few signs that civilization, though wounded, still exists.

Yesterday afternoon, when it was warmer, I went outside to do a bit of garden clean-up and prepare a bed for a handful of peas I'll plant in a week or so. I found a garter snake sunning itself in a patch of thyme, unconcerned with our troubles. It remained frozen while I circled around it, closer and closer, finally kneeling down a couple of feet away to get close-ups. I went back to my chores but kept an eye on it. Eventually it slithered off a bit and coiled up in some leaves, not quite invisible.

This may be our ambit for a while. We received a food delivery today, enough to tide us over for the next few weeks, barring the unforeseen.

Notebook: The Very Thing That Happens

We've had no face-to-face contact with other people for nine days now, and in New York State, where we live (and which now has the highest coronavirus case total of any state), something like a modified lockdown is in effect. I always work at home; whether there will be work at all next week or the week after is in question. The press is still giving undue attention to the vagaries of the stock market (which mysteriously rises at times, at least fleetingly), and the man at the helm is still an idiot. We have sufficient food, sundries, and pet supplies for the time being (and more on the way), although obtaining fresh produce and fish may be a challenge in the weeks to come. In our neighborhood people with children or dogs are still walking around the block, I hear the train whistle downtown, and the temperature has climbed into the low 70s. Yesterday, in what may be our last outing for a while, I took the dog for a hike after work. Driving out of the preserve I saw two people starting out on a walk with a cat on a leash. (The things one does, to retain a bit of normal life.)

Last night we watched Call Us Ishmael, an entertaining documentary about Moby-Dick and the people who love it. I read a few of the later chapters of Fitzgerald's Odyssey. For no particular reason I pulled out Lorius, a CD by the Basque (but also part-Irish) combo named Alboka (after a kind of hornpipe) and listened to it for the first time in years. One of the livelier tracks is below. It serves, for the moment, to get the Talking Heads' "Life during Wartime" out of my head.

The title of this post is from a piece by Russell Edson, which ends, "Because of all things that might have happened this is the very thing that happens."