Water Has Memory

When a breeze shifts the old cat tail stalks, the energy skin on the water kinks, again and again. Water remembers each kink.

Then the greater memory kicks in and the energy is reabsorbed. Effectively, it is reabsorbed into past time. Yes, this is a photo of time travel, similar to looking back to the Big Bang.

Look how the entire mountain ridge across the valley is caught in the newest water kinks.

A Canadian Education

Canada is a big country. Here’s a tiny piece of it in the west.

What you’re looking at is a bit of a collision between a volcano and a seabed off the coast of North America, that became part of the land about 110,000,000 years ago, and then became a local landmark. Perhaps you can see the highway that cuts across the ancient trail it marked? (That’s our bluff again, in the middle of the image, which views it from the south, rather than the east, as we did in the preceding image.)

The first wave of colonization, the Hudson Bay Company’s pack horse trail, followed the old trail. The new trail, which follows the Hudson Bay Company’s route from the south (politely, we call it the United States of America now, for old times sake), is the result of imported technology (German freeways, Swedish dynamite, American earth-moving equipment, and so on) that came in on the trail until it became it. The old landmark still stands, though.

And it’s still doing its old work, of marking the paths of power. It’s just that now it is part of Canada, which has a culture with certain prerequisites. For one, it is a country imposed on an indigenous state, which means that indigenous landmarks must be translated into Canadian terms before they can be read. For Canada, these terms are displays of social power imposed on the landscape, such as the German architecture below.

Only the wealthy can play this game, but there are lots of them. Social power within Canadian society in this region — in other words, Canada in this region — is about extending these intrusions.

It is a complex game, and by making these images I have broken its rules, which are to look out at views of water, rather than looking back at Canada looking out. That is simply not done. It is breaking a social code.

These views, for instance are easily worth $1,000,000 each. As you can see in one below, they show the next in the series of indigenous landmarks, at a romantic distance, and the houses of other wealthy people along the lake, at an appropriate distance that allows them to be romantically embedded in nature, as befits an imperial British settlement.

Canada is a very romantic project. Thousands of people look out, at sufficient distance that a forest being trucked to a plywood plant disappears into landscape (look below.) Again, apologies, I have broken that taboo by making this image.

The next image breaks that taboo, too. Here you can see that one of these houses has constructed a garden, or perhaps a chicken run, from creosote-treated railway ties, covered with netting, to get past the ridiculous steepness of the land and its inappropriateness for chicken runs and gardens. It’s not pretty, but that’s because it is made from outside of Canada. The rule is, don’t take the picture until you’ve moved far enough to the right or left that the Canadian presence on the land disappear. Then make the image.



One of the reasons for the netting is that Canadians moving into landscapes like this situate cell phone towers and garbage dumps around areas of the greatest indigenous significance. It is a subconscious part of the process of subjugation, and it does have its ironies, because those areas are the best for display houses with the most romantic views, but the garbage does attract eagles, romantic birds for sure, and ravens and crows…

… which do interfere with the illusion that there is no garbage here. You simply can’t use the land as a canvas for the social display of an imported culture, which exists only in the display, when those pesky birds steal your chickens and strawberries. It can’t be done. Now, a Canadian, of course, has it hard, because Canadians are just people, after all, with the same desires as any others: family, shelter, a bit of love, lots of aggression, and strawberries, plus breakfast eggs, if they can get them. It’s not their fault that they have to acquire these essentials through a social grid laid out upon indigenous space that Canada bought for them 146 years ago (not from its owners but from the British, who gave themselves the right to trap furs here, on the strength of a navy no-one had the means to mess with) and they’re doing the best they can…

… continually rebuilding roads to get their social grid in the best shape possible, as far as such social grids go. Yes, the result is ugly, but you’re not supposed to see it. You’re supposed to live within it and look out. And when you do (below), please do yourself a favour, don’t look at the erosion caused by thousands of young people leaving the trail to go out-of-bounds down to the rocks to jump into the lake.

That’s deadly, and is to be overlooked. That’s the rule. The landscape is to be read as an archetype, as if you were the first person who was ever there. The irony of a country-as-a-social grid, such as Canada, is that when you turn around, from the land, and look at the grid …

… it looks improvised at best, and even a bit desperate and chintzy. The image above is a private road for wealthy land-owners to use to access their view property below the bluff I showed you above. The gap between its imposed, utilitarian ugliness and the romantic beauty and intense social power it grants, is why literature in this country is a social game, with landscape entering it through social avenues such as scientific tropes, academic understanding, queer readings of landscape, environmental activism, and so forth, but never on its own terms. Those are considered  romantic …

… not because the earth is romantic, but because that reading of romanticism is also deeply embedded within Canada, which is a romantic social product written on the land. It can’t escape itself. If you leave that romantic reading, you are no longer in Canada, but looking at it. That’s the rule. It is such a powerful  mechanism that the country’s literary artists, embedded in the social training system of its universities, are unable to break it: there is no audience out there, and no market, just a few weeds growing in the haphazard infrastructure created by the social application of powerful foreign technology.

Literary people would starve out there, and that’s really not good. I can afford to show you these images because I am what is called in Canadian social terms, a sub-class of Canada’s imperial homeland, the United States, White, Male, and Old, ie an Old White Man: an undesirable thing, anyway, with no social power in literary society. These are not the terms of the culture of the land, of course, but that’s a different thing; Canadians live in cities. They have the second largest country on earth but not to live on. It is to harvest industrially, in ways which minimize access to the scars of such harvest (swaths of uncut trees lining highways, to preserve romantic view lines, and so forth), in order to concentrate the wealth of the land within the social grid, which is reserved for people who are extending the networks of power laid across the land. Those networks are the only country there is. That an old man such as I am (I’m 59, not old perhaps by an objective standard, but old and unwanted in this culture), sees something other than the omnipresent beauty of the grid and the notions of identity it fosters, is, by definition, romantic, because in the definitions of the culture, all land (and hence all that is attached to the land) is romantic; the only exit from romance is through the social networks. I can laugh at that all I like.

I am only trespassing on the land reserved for the social power of wealthy men, which is how I took the image above. That I consider access to that land my human right is another indication of how non-Canadian I am. That image above is evidence of a crime. That I only stepped a few metres onto private land, unoccupied land being advertised for sale, does not erase that. The image is romantic. Neither you nor I were meant to see it, and that buck was being protected in order to be shot as a trophy. That is the rule. Perhaps, if you’ve read between the lines of this post, you might get a sense, or the beginnings of one, of why the indigenous villages, which are called “Indian Reserves” of this country are described in terms such as this:

There are no economic reasons for Attawapiskat to exist and it does so only because it is underwritten by the Canadian taxpayer. http://news.nationalpost.com/full-comment/john-ivison-the-rising-toll-of-canadas-failed-experiment-with-isolated-reserves

The statement is an offense to human dignity, but then, you see, so is the poverty in the image that accompanies it:

Villages such as this are not “isolated” in a passive sense, as the article suggests, in that they are “in the bush”, or “in the wilderness”, or “far from culture” but isolated in a far more active sense, in that culture (Toronto, Vancouver, or even my small city of Vernon, for example) have placed them in isolation, as the name for these spaces, “Indian Reserves”, makes abundantly clear. The space below is exactly the same kind of space.

Canadian culture — the survival of the social grid — demands that we look the other way.

Or at least maintain the respectful distance that preserves privacy (ie social privilege.)

Or the corollary distance that embeds social display within the landscape, to create the illusions of wealth, belonging, power, beauty and ease that are every human’s desire and are fulfilled in the Canadian overlay in precisely prescribed forms.

Your way to them is through the university and its botanical gardens.

But do ignore the banana peel. You will fail at your studies if you concentrate on that.

Earth, Sky and Water East of the Subduction Zone

Look at Okanagan Lake project itself into the sky, as a cloudless space. Storm is trying to move in from the west (and from the northeast), with no luck. Terrace Mountain, in the distance, is pushing the energy of the incoming front into a projection of its own shape in the centre of the image, projecting the storm within the cloudless space as a mountain-sized fall of rain.

The  pressure driving at the mountain from the west, causes smaller projections to form in the projected lake space between the mountain and the mountain of rain in the sky. One forms every five minutes, and then drifts into the negative space of the lake.In this climate, in the negative space of the Coast Mountains to the west, negative space makes our weather. Notice as well how as a result of the projections of the earth into the sky when the rain falls it doesn’t fall on Terrace Mountain but at the head of the watershed in the centre of the image below, which then carries it down to the lake.

The forces that made this deep inland fjord through such underground water pressure systems are still at work. This scene is their projection on the sky.

Tragedy in the Spring Snow

Our little herd of nine does had two fawns last year. The coyotes got one last week. This doe is now being very protective.

It’s hard, though. Forage is reduced by overgrazing, the orchards that maintained the deer are now blocked off for miles by fencing, the males are aggressively hunted, and coyotes, which can slip through the net of fences and feast on domestic dogs and cats, grow in numbers every year.

It’s called nature. It’s not. It’s an entirely new planet that follows new rules.

The Snake and Turtle Trail

There is an ancient trail that comes in from spaxmən (Douglas Lake), crosses kɬúsx̌nítkw (Okanagan Lake) below, on the lower left …

… and enters a tongue of land called “The Commonage”. The trail then climbs this tongue to root gathering grounds on its rolling crown, including precious springtime bitterroot grounds …

…then descends to sacred chilutsus, “twin lake”, the lake that is two lakes in one, now known as Kalamalka and Wood lakes. There are three possible routes of descent, limited by cliff structures along the chilutsus shore. I indicate these trails by arrows below. The lower one leads to a winter village. The upper one accesses a second winter village at the head of chilutsus.

They all skirt significant landmarks, too many to mention in a short post …

… but one series stands out: turtles. This is turtle country. I indicate a few turtles with yellow circles below:


The one in the centre left of the image is Turtle Point.

A little closer, with less light?

The one in the centre right of the image is, again, Turtle Point. (The turtle’s head is on the right below, white with snow.)

The one just touching the upper edge of the map above is Turtle Mountain, the anchor of a series of turtling lava extrusions stretching along the so-called Bella Vista Hills.

I have no idea what this trail was called before it became a leg of the Hudson’s Bay Company Brigade Trail 200 years ago, but it’s a logical place to cross the lake of the twins to Turtle Point, the seasonal village east of it, and the trail to the salmon grounds beyond, on the Shuswap River, far off the right side of the map below.

Without an ancient name, I suggest that, for now, we keep the trail’s history alive by describing it after its crossings, and its anchor, the marker at its lakeshore terminus…

The snake! I suggest it’s a big-eyed Western Yellow Bellied Racer.

Such as the one above, which I found along the trail on the eastern shore of chilutsus.

I think it’s fitting that the trail follows a snake-like route across a rise of grass, to a cross from snake to turtle, and that this rise of grass is  a snake-shaped tongue of land that keeps us alive with salmon-coloured flowers in the spring, on our way across water to the salmon that see us through the winter. My deeper hunch is that this land, called the Commonage, was always held in common between chilutsus and kɬúsx̌nítkw, and has always been a place of crossing, just as chilutsus is: one of the points in which Syilx territory meets on its north-south and east-west axes, in a territory that was always the road between the north and the south, the east and the west. Sure, it’s called The Commonage, after a ploy by White Ranchers to gain the last stretch of indigenous land for their cattle, close to 150 years ago, but it could well be that the idea was accepted partly because it had always been a place held in common.

The land tells us all we need.

More Than Ground Cover

When the weather is cool, spring is what you make of it.
The red oregon grape leaves among the poison ivy berries I found growing along Kalamalka Lake, are attracting warm light, invisible to my eye, while the yellow berries of the poison ivy (a form of cashew) keep humans and other predators out, even while signalling their presence to birds, who survive the spring partly because of this selection. As a result, both species are able to spread and take in more of the spring, effectively intensifying it — for all.

Making Humans

On the shores of Kalamalka Lake there is an ancient village.

It’s so old it has been forgotten. The people who live there now don’t know that the land that called them, called others thousands of years ago. They don’t know the story of the giant wild rye along this old fence line.

They don’t know the stories in the stone of a people who drew their identity from the land, not from other people. They don’t know what the marmots who live in these cracked seabeds know, or why it might be important to live among them.

But this land, and these stories can still be read.

What is read in poetry and photography now, and conversations about nature, was once read as self, and I don’t mean the “I” of contemporary thought.

Some still read it that way. I do. I have learned that if it is possible to do so as a human, then definitions of humanity that do not accept the earth as part of the human social group, with humans being less than primary, are inhuman.

These are ancient stories. This does not mean they are obsolete.

They follow the only possible trail. Perhaps you see the stone fish below. Perhaps you see an escarpment.It means something when a pine enters a story like this and stays for a few hundred years, or humans enter it, as they once did, as we all do, and stay for thousands of years. The story is still there, whether it has human shape now, or not.

It matters that saskatoon bushes and oregon grape enter these stories and grow within them.

It matters that all of us have the same mind. That we are all in the same telling. It matters that this is not nature.

It matters that at heart we are not humans. “Human” is something different. That is a story we tell.

There are reasons to tell it. It is not, however, where we begin. And it is not where we end.

This is our archive. This is where we create ourselves again. This is rock.