This is how to walk through the face of the sun.
Pretty great, eh! NASA, sorry guys, but we’re already there.
This is how to walk through the face of the sun.
Pretty great, eh! NASA, sorry guys, but we’re already there.
Celebrate the season!
It’s a colour palette for rejoicing.
Art without four seasons. Life without four seasons. Life with dozens, often two at the same time, passing through each other like clouds!
What a beautiful dance.
One after another,the grassland opens further. Something is ripening here.
It’s easy to share space if you are thin, and working on rhythms of opening and closing that intersect at the point at which one species needs water and another needs to release it.
It is the way a trout holds still in a flowing pool.
It helps to signal your presence.
Even petals can rise and fall in the rhythms of this pattern. Look how they are falling out in the bloom below in the opposite sequence from which they came in.
Going to seed in sequence helps. There are no clear seasons here.
It’s all one-after-the-other here. For humans, it’s all-at-once. That’s how a migratory, predatory species thinks through individuals that come together into groups by releasing its defenses and including the other within the self. That’s profound, but so is the grassland that thinks together. Every space that is closed opens.
This is water’s journey. It falls from the wind, opens into life, and then, when the wind is a closed space, opens again into the wind: opening after opening after opening opening openings.
Only a grassland thinks like this. Only water thinks this way here.
This is the spirit of a grassland. Here, and this is the big secret, humans can let down their boundaries and live in the sky as well, by extending the social group to these ends.
We are not just a predatory species. These grasslands are our ancient homes. Much has been forgotten, but much has been remembered, too. We are remembering it now as we put a close to the closings below.
It is time for all of us to put down what we are doing and walk out into the grass as she dances to the language of the universe passing through the earth.
Needle and Thread Grass Dancing With the Big Bang
Elders do math best.
A living calculus.
The spiders of the fruiting world!
For them, life is a spray of electrons.
Why not plant one today? Also great for keeping away sorceresses, who get lost in the pretty embroidery.
I left the garden today, and all its lettuces, kale, spinach and dill, and went up to the water, where the birches rise out of the cedars and the wild roses.
The ducks were feeding on the blue damselflies and shrimp as clear and white as clouds.
The water showed the directionality of the sun, the coloured space that was blue from one angle, green from another, and from another all gravity and tension.
To my ancestors, there were languages: the language of birch, the language of cedar and the language of water, and sometimes they joined together and then there was song, or consciousness. My ancestors began there in that offering.
Being together with these languages, at the point of their meeting, was like reading cloud or reading the sea room for the weather coming from the north.
I am learning this language again. Poetry was once the tool for speaking it in human form. I learned this art in an old age of the world from a man who had gone to the old ages of the north of the world to find it.
It still is this art. It still is this age of the world. It is still this old earth. It is still this new.
It should not, however, be confused with literature or “communication,” as beautiful as they are. It can be spoken of alongside beauty, if by beauty we mean balance or organic or earthly form.
Speaking it as a garden is not a confusion. From high lakes like this, water leaves the sky and enters the streams and pipes that take it to my red orach, my oregano and my egyptian onions. They drink this. I feed on this, and not just physically.
From high lakes like this, light leaves the sky and enters my garden, too, in a form fitting of these heights. As I am this land, I am this water. It is not, you can see, what is normally called human. Of course it isn’t. This is the old knowledge. It is not humanism. That is a beautiful but far different thing.
To my ancestors, the cupped hands, or the skull, were raised in thanks and blessing. Skold! they said. They didn’t mean the skull, but the bowl it made that held the mind. They didn’t mean the hands, but the bowl — the old world was scale, or Schale, as they said (and say) in German — that held, that was the power of holding, lifting up and offering and that created them through this offering or lifting up.
This is the holding up and the offering, this language of birch and cedar and water. This is where mind becomes.
This is the garden.
Between eye and eye, and mind and mind, there is no distance. Hundreds of millions of years vanish.
Please, forget carbon dioxide for just a minute, if you can. It’s a symptom, not a cause. There is worse.
Nature in Canada
This mule deer doe is trapped by fences on this hill. The collection of weeds (all introduced by cattle farming, except for the sagebrush, which has choked out the hillside, is also a result of cattle farming. This is an industrial ruin.
Nature in the Swiss Alps.
These alms in Unterwasser, in Alt Sankt Johann, feature a flock a sheep around the ruins of an old croft, a pasture water dam (centre of image) on an old creek (dry), and machine-hayed, state-subsidized farms on the beds of old forests. This is an industrial museum, used as a pharmaceutical to enable people who live in urban areas to survive as biological entities in artificial environments causing physical and emotional stress.
Nature in Zurich
This is an indigenous city. Here the celts became romans, adapted, and became better romans than the romans. After 2000 years of that, they raise their children in cages. This is a school playground.
In this context of adaptation, biological nature is an artform. You can find it at the graveyard across the street.
The Art of Death and Life
It’s an ancient celtic thing, that lives on. It’s called landscaping, because that’s the fashionable way to talk about it, learned from the roman britons of the 18th and 19th centuries: another group of indigenous people who romanticized nature to survive the brutality of states built as cages, and built new cultures out of it.
The wealth created by spreading these new aestheticized cultures around the planet, and living off of the conversion of other indigenous spaces into romanticized nature, or wilderness, has powered the global economy for a long time. We all live in the industrial ruins (corpses) these compromises have left behind.
Industrial Ruin on Vancouver Island
The ancient salmon forests and rain forests of the North East Pacific Coast are largely gone now. A few trees remain, but that’s it. Some of the oldest trees, however, ancient Nuxalk, Kwakwala, Haida, Nu-chah-nulth and Tlingit trees, for example, that grew huge in a shared ecosystem of humans, human shell middens, salmon and bears, litter the shores of British Columbia now, where they are called driftwood. They are not. They are ancient forests, chopped into logs, and torn by storm out of log booms. They were intended as houses, for immigrants in the United States and Canada, as well as structural timbers for Allied Aircraft, and so on. The indigenous people of this land were sacrificed, in other words, to create homes for people displaced elsewhere.
In an industrial culture, such views of industrial ruin are romantic and beautiful. In this case, they are called nature.This large stone on the shore of Discovery Passage, for example, is called, in the language of nature, a glacial erratic, and in romantic, colonial language, a grizzly bear that froze just as it touched the shore of Vancouver Island, and mythological evidence of why there are no grizzly bears on Vancouver Island. The tale was made up by a 19th Century missionary, along the lines of the Just So Stories of Rudyard Kipling. It is a part of a far older series of ancestral myths. Its attraction for artists of the industrial age is a testament to its ongoing power of attraction. For humans, this is a kind of industrial mirror.
Nature itself, a European concept, is a series of ancient indigenous forests (celtic), sublimated as principles of regrowth and renewal. It is what grows within industrial settings, returning them to the state of the Garden of Eden. In that regard, this colonized and industrialized foreshore is a Christian landscape, which is why it is so attractive to European cultures:
Ancient Kwakwala Clam Garden, Willow Point
This is also a Christian Landscape, this time above the Rhine at Sankt Goarshausen, in the celtic and roman heart of Europe. This is a catholic landscape, from a time in which the Catholic church was a political and industrial institution, when it was, in fact, an adaptation of an indigenous culture (rome) to an invasion and takeover by its own slaves. The resulting new rome was catholic. It produced images of itself, just as contemporary Canada produces images of its colonial processes along its own shores.
Wilderness in Sankt Goarshausen
These vineyards, and tens of thousands of steep hectares just like them, were farmed by hand two centuries ago, and even one, to create wine, which was marketted to dirty, industrial cities as a healthful, peasant alternative to industrial illnesses, containing simultaneously the power of the land, the power of simple people who rose from the land, and the hierarchal and imposed power of the church and God, who brought the power of the sun, and diefied power, into the grapes through the action of human hands subjugated to industry and piety. In its time, it was a beautiful compromise, creating a beautiful culture. It is all gone. Modern industrialization of wine land has created a price structure that cannot support hand labour. This spiritual industrialization is now a ruin and, unsurprisingly, the churches are empty.
Wilderness in British Columbia’s Okanagan Valley
Another name for this form of industrial ruin, or nature, is White Privilege. This is a landscape that became racialized in 1858 and which continues along the process of racialization. In the centre of the image above is Siya?, one of the four food chiefs of syilx culture. Everything else is a series of feral European weeds. In other words, Siya?, and the valley’s earth-based culture, live marginally within the unintentional consequences of racial abuse, dehumanization, and the separation of culture and landscape. But perhaps I am being unfair. Here, have another look:
Wild Rose in a White Landscape
In a Canadian context, she is called a weed, while the real weeds are called “grassland” and “nature.” That’s how far we’ve come.
What is the Canadian vision today in British Columbia’s Okanagan Valley?
White Privilege: The View Over Indigenous Space
This is the outdoor, garden space of a home for Canadians retired from the petroleum industry to the East. It looks out over The Commonage, an indigenous pasture land that has been under land claim since 1895. This “house”, or viewing platform over a regime of power, will cost about a million bucks once the dust has settled.
You are looking at echoes of European architecture, filtered through the indigenous slavery cultures of the colonial American Southwest, and built out of machine-chipped wood, which is called “added value.” Bricks and European or Arizona-style adobe and plaster will be laid over these faux pillars and arches, to give the illusion of old world comfort and aristocracy. It is, however, only illusion. Not only will it not last, but it comes at a price that only people of White, industrial privilege can afford. Well, not quite.
You can, if you like, buy a town home and live on the edge of the privilege of your oil-wealthy neighbours up above, with a view over an industrial orchard. This too is called nature. This home is built on 5 metres of infilled gravel, into which 50 cm-thick (approximate) concrete footings were poured at -20C in the middle of the winter. Notice how the spring rains are wearing away the foundation. Expect the walls to settle.
Meanwhile, in Europe, nature becomes a gesture.
Rüdesheim am Rhein
Palm trees in the old Catholic wine-making town at the entrance to the Rhine Gorge.
The tourists are growing old now. They walked five years ago. Now they are hauled around in diesel “trains”, which clear all pedestrians out of the streets. This is wine culture today: not wine culture at all. These people are not buying wine. They are buying a tour of a museum town. What is on show is indigenous culture, through the filter of the compromises it has had to make over time to survive. This way people have of surviving in cages can be quite beautiful to people who live in cages.
Here’s the Okanagan Valley equivalent.
Indigenous Food and Medicine Crop in the Ruins
aka Arrow-Leafed Balsam Root in the cheat grass.
Most often, though, it just looks like this:
Or this: In White language, this landscape is called a desert, a term which increases its attractiveness and value (hence those American Southern indigenous-slave-culture architectural forms promising aristocratic ease), but it isn’t. The wheat grasses below (also an introduced weed but intended to replace the original grassland for grazing purposes), show just how much the land isn’t a desert. This grass is growing immediately beside the dead cheatgrass above.
Not a Desert!
“Desert” is a White term here.
So, please, forget carbon dioxide as a cause of global warming for just a moment and hang out with your mule deer sister. Look how afraid she is, racing through the weeds and a few indigenous plants that, like her, are surviving in this cage, and on which she grazes.
Carbon Dioxide is not a cause. It is a symptom. The cause is “Nature”. “Nature” is a racial term. The abuse it causes is the cause of Global Warming. It is a ruin. It has many forms. Similarly, the salsify (French) below along the old (Earl) Gray Canal Trail (British) in the old Syilx Illahie, is not a cause of ecosystem degradation but a symptom, and the source of new beauty.
This post-apocalyptic view, too. The regrowth here takes on special poignancy against the background of failed industrialization and rust.
This failed industrialization and adoration of death, shows up in the backyard image below: plastic chairs model after handcrafts from the American East, in the ruins of a Japanese orchard converted to gardening space int he 1970s, converted now to a lamp of bones over a new-age bowl of magical crystals, with partially-emptied jugs of home-made wine, with ground cloth and gravel to keep the old syilx land from growing through and creating the need for hand labour.
Death has been internalized. It is all powerful and we attempt to survive biologically within its grip. Global Warming is a logical consequence. Industrialization is not the cause. De-indigenization is.
Stein am Rhein, Switzerland
It’s not a physical thing.
Apricot in Her White Gown
White is a tricky, racial word. Here’s a small piece of a meditation on it from my book in progress, Commonage: The War for the Okanagan.
In English in these parts between Northern Oregon and Alaska and Western Montana to Haida Gwaii, “White” applies to people of Caucasian background, as long as both of their parents are Caucasian; people whose parents might include a Scots Hudson’s Bay Company trapper and a Cree woman from Manitoba are deemed to have negated all “White” rights, or at least it started out that way. People such as Hudson Bay Company Factor Peter Skene Ogden’s wife Julia, whose parents were Sanpoil and Nez Perce yet who was raised by a French Canadian-Cree trapper after her mother’s second marriage, was accorded civilized rights by the British but not by the Americans. People such as the Oblate missionary Charles Pandosy, who came to love the Yakama and despise the Americans yet betrayed the Yakama to the US Army in 1855 to protect it from a war it could not win, was occasionally accorded “White” status, despite being Catholic, but Father Nobili, who built a mission at the Head of the Lake Village at a) Nk’mp, or Osoyoos Lake, b) Garnet Valley, or Summerland, or c) Head of the Lake on Okanagan Lake, in 1840, wasn’t, probably because he was Italian, and Italians weren’t “White” in those days, although they are now. It was all very complicated. From an indigenous perspective, “White” actually applies to the dried white salmon of Mnassatas Creek, where this story took the form of a fish and saved Pandosy from starvation brought on by his own ignorant notion that he was living in a wilderness. This salmon was white because sockeye salmon harvested far up in their watersheds, when they’ve gone into their red spawning colours and have devoured all the fat in their bodies after a long journey, develop a white crust over their red flesh when split the traditional Yakama way and dried in the wind. So, yeah, if the Yakama were calling a man a “White,” they probably meant the red sunburn he got out in the shrub steppe and the white, peeling scab that followed a few days later.
No doubt, the Yakama knew the Christian symbol, Ichthos the fish, and stories of Christ as the Fisher of Men in the “wilderness” of the desert of Galilee. I’d be surprised if they didn’t. Swapping fish stories would be a good connection for any missionary trying to convert fishermen in the “wilderness” of the Columbia Plateau — a country in which salmon were people, in an age in which the children of salmon fishers were dressed in white to be baptised by priests. Some jokes are too good to pass up.