Clearstories

I’ve been collaborating with photographer Stephen Petegorsky on a set of paired poems and photos, titled Clearstories. An excerpt from the project has now been published as an online chapbook at Terrain.org:

Clearstories

The project explores animal specimens that have been cleared and stained, a process in which they are treated with an enzyme to turn soft tissues transparent, then stained to make bones and cartilage stand out for studies of anatomy and morphology.

Two photo/poem pairs were also featured in Amherst Magazine.

Photo of Amherst Article

Top image: Fringe-Toed Sand Lizard, by Stephen Petegorsky.

Porcupine

My poem “Porcupine” is published this month in the Cider Press Review, and can be found here:

Porcupine

I wrote this poem watching a porcupine cropping grass at Smith College’s MacLeish Field Station in Whately, MA. I also caught a photo, shown above.

A black-backed gull pair in the sunset on Appledore Island.

The Reaper of the Sea

I somehow didn’t post this essay that I wrote based on my time as artist in residence at the Isles of Shoals. Published by the wonderful nature-writing magazine Terrain.org, it centers on a necropsy of a seal pup that died from entanglement in ‘ghost gear,’ or a lost fishing net.

With the seal’s body as a window, it depicts the battle for the ocean among fishermen, marine animals, and scientists as once-decimated seal populations begin to boom – and contemplates how death mediates our connection to nature.

I’m very proud that this essay was also nominated by Terrain for a John Burroughs Nature Essay Award.

The Reaper of the Sea

The dead seal lies on the table. The bulk of it unignorable: the heavy torpedo-shaped body, gray as a sea in storm; the whiskered head, the flippers; a mound of muscled ocean.

A gaggle of undergraduates duly robed in reusable plastic aprons, wrist guards, and nitrile gloves stares at the gruesome yet strangely beautiful torpedo laid sleepy-eyed on the aluminum …

Read more at Terrain.org

The Monarchs of Winghaven

I have some thrilling news, which is that my middle-grade novel, THE MONARCHS OF WINGHAVEN, will be published by Walker Books US in the spring of 2022:

PW Bookshelf announcement of THE MONARCHS OF WINGHAVEN

I’m so happy to have this opportunity to put a book into the world about a theme dear to my heart: a young person’s bond with nature. As a girl, I spent countless hours wandering the outdoors, birdwatching, taking nature notes, and learning to be silent and unobtrusive enough that animals from mice to skunks to snakes to muskrats came close enough for me to watch without even binoculars.

This book draws on many of those memories, and I’m beyond delighted for the opportunity to share them with others.

Keeping nature

Nature journals have been on my mind lately. Really, they’re always on my mind.

The practice of nature journaling has been with me since I first started bird-watching at 12 years old. I’d go outdoors with a notebook, binoculars and a Rite in the Rain pen or pencil in tow. Then I’d take notes and make sketches, as detailed and as patiently as I could, of my observations of the nature around me.

Not long ago, adult coloring books became all the rage. People like them for the opportunity to relax, to express an artistic sensibility, to let go of the stress of work and family and finances and all the pressures of adult life.

Nature journals can provide exactly the same benefits, but with the added reward of getting outdoors…

Read more at The Daily Hampshire Gazette

02_journalFrance

A nature journal page from Les Grands Causses, France.

Top image: My journals occupying a shelf with nature artifacts and a poster from the American Folk Art Museum 2018 installation on science illustrator Orra White Hitchcock.

a spring peeper on a leaf

Roaming the Valley – ancient lakes, frogs, and sand volcanoes

Despite wintry weather chewing at my edges I’ve spent plenty of time outdoors roaming the Pioneer Valley in the last few months. In late January, UMass geoscientist Julie Brigham-Grette took me for a McPhee-style gander through regional geology:

Right now, we’re turning down a squelchy, pitted dirt road in the back fields of Sunderland. Minutes ago, Brigham-Grette told me that a local Hadley farmer banned her from his fields — she’d driven back there for a geology student field trip and buried her wheels in the mud. The farmer had to haul her out.

“I sent him a thank you card, I even sent a UMass hat,” she said. “But he still won’t let me come back.”

The back of her hybrid hatchback is stuffed with large maps and diagrams that block the rear view. Up front, it’s just the two of us and our muddy hiking boots. We pass a small road sign.

“Not maintained in winter,” Brigham-Grette reads aloud. “Well,” she adds, “we’re not going to get stuck.”

Very reassuring.

Brigham-Grette, a rail-thin geologist with straight blond hair and a flashbulb smile, first arrived as a professor at UMass 30 years ago. She specializes in paleoclimate, or ancient shifts in climate, and what those changes tell us about our climate today. Her work has taken her from the Arctic Circle in Alaska and Siberia to right here in our own backyard. In the process, she’s racked up an impressive body of knowledge about the geologic past of the ground below us.

Photo of Julie Brigham-Grette with a shovelful of sand

Today she’s showing me how that history meters everything about life in the Valley, from the agriculture to the economy to the drinking water.

Read more at the Daily Hampshire Gazette

One amazing feature Brigham-Grette showed me was these sand volcanoes. They’re artesian springs emerging from base of an ancient delta deposited in glacial Lake Hitchcock some 13,000 years ago. The delta’s big package of sand now forms a hill, in which thin layers of lake mud trap infiltrating rainwater, creating water pressure. When the pressurized water hits the edge of the hill, it spurts right out.

The water’s clean from filtering through meters of sand, so it’s used for drinking water and to feed artificial fish ponds at the Sunderland trout hatchery, where I took this video. I’ve seen such little volcanoes in Brazilian rivers, but who knew we had them right in our backyard?

This month, meanwhile, I wrote about frogs. I was pleased to have three of my own photos of local frogs featured with the piece.

Within the next few weeks the earliest of them will start calling — spring peepers, whose high, eager cries have always reminded me of the belling of a pack of faerie hunting hounds.

An age-old symbol of transformation, frogs couldn’t be a more fitting sign of spring. In growing from tadpole to frog, these weird beings are the largest animals on earth to experience such complete metamorphosis from larval to adult form.

Their yearly chorus heralds the startling changes soon to overtake the landscape — buds burgeoning to silvery green leaflets and then to shading leaf; flowers unfurling extravagant banners; birds knitting finely-crafted nests. What the frog does the whole world imitates.

Read more at the Daily Hampshire Gazette

Find the frog:

a wood frog camouflaged among dry leaves

Picture of Smuttynose Island viewed from the shore of Appledore Island

The Isles of Shoals – Poems

This summer, I had the extraordinary opportunity to spend June as artist in residence at the Shoals Marine Laboratory on Appledore Island, one of the Isles of Shoals off the coast of Maine and New Hampshire.

As the first poet they’d had in the position, I spent many hours wandering the sea-washed granite outcrops, peering down microscopes alongside parasitology students, observing marine mammals with smart, passionate marine biologists, and accompanying sustainable fisheries experts on the boats of generous local fishermen to observe fishing practices.

Poetry has a long history on the Isles. In the late 1800s, poet and lighthouse keeper’s daughter Celia Laighton Thaxter ran a hotel and artists’ salon on Appledore, attracting visitors like Thoreau, Mark Twain, and Childe Hassam. Her poem The Sandpiper is one of my enduring favorites.

I wrote a lot during my short stay, inspired by the landscape, the animals, the fervor for exploration and discovery among the scientists, staff and students. Here are three poems published today by The Island Review.

On the Isles of Shoals

GullsEgg

A world on fire

I’ve been slow to post my latest columns for the Daily Hampshire Gazette, so here’s a slug of them. Unsurprisingly, they all center on a similar theme – the way our world is heating, burning, every day hotter to the touch and to the thought.

While I’m posting, don’t forget to vote on November 6.

Photo credit: AP/Leo Correia

olives at St Remy de Provence

In Search of Vincent van Gogh

I sit on a hotel’s tile balcony, halfway to my destination. The midday sun lies hot on stucco walls and tile roofs. Between the buildings I see a sliver of sea; across the bay, a spine of green-sided mountains cuts the sky. Around me gulls call. All colors here are bright, clear, and strong: white like bleached bone, green the color of cactus, tiles brick-red, and the sea as blue as only blue can be described. Blue.

I am on my way from Barcelona to Arles, France, where Vincent van Gogh spent two of his final three years. In Arles he famously went mad, cut off part of his ear, and finally checked himself into an insane asylum in St. Remy de Provence, fifteen minutes to the north. In this region, also, he painted many of his best-known works: Sunflowers, The Night Café, IrisesStarry Night. The landscape of the region now surrounding me belonged, and in some sense still belongs, to him, who gave it some of its most memorable and permanent expression.

Vincent van Gogh is a writer’s painter. When I was younger, I struggled to connect to visual art. Paintings felt static and limited to me – they had no words in them. Then, browsing aimlessly in the library one afternoon, I happened upon van Gogh’s letters to his brother Theo …

– Read more at the Doctor T.J. Eckleburg Review

The land through native eyes

In my latest article for The Daily Hampshire Gazette, I contemplated the perspectives of indigenous communities on our relationship to land, partly in preparation for an author event on the same theme at the Forbes Library.

Two summers ago, I visited the grasslands of southwestern Brazil. I stayed at a fazenda, a farm property offering lodging for tourists on the side. Our pousada or lodge was especially tiny as these properties go — run by a woman and her partner who had rented space on the farm for their small business.

We grew friendly with our hosts over the week. Eventually, Mirjam and Wagner invited us to visit a nascent commune they were creating in a nearby village. There, with friends, they were trying to design a new and sustainable model of small farming.

Mirjam, who had immigrated to Brazil from Germany nine years earlier, spoke with passionate disdain of “agrotox” — the cocktail of pesticides, fertilizer, and genetically modified seeds distributed and applied by big chemical and agricultural companies.

Wagner, whose indigenous blood showed in his dark skin and almond eyes, showed us the circlets of their own vegetable beds: beans, tomatoes, bananas. The system, he explained, is called “agrofloresta” — growing plants together in mounds, seeking to harness each plant’s properties to create a more favorable environment for the growth of plants alongside it, just as in the forest.

He showed us plants with high nutritive value but not commonly farmed — plants known and used by indigenous Brazilians of the region. He had put together a display case of these seeds and beans which he poured into our palms for us to investigate.

…more

Wagner harvests a coconut at the Pantanal Ranch Meia Lua in Miranda, Brazil.

Wagner harvests a coconut at the Pantanal Ranch Meia Lua in Miranda, Brazil.

At the Native Americans and the Land author event mentioned in the article, poet Cheryl Savageau spoke about her Abenaki people.

For the Abenaki, as for many indigenous communities, everything in the land is a “subject” – not just the people, or even just the trees and the animals and plants, but also the wind, the stones, the clouds, the rain. Humans, too, are the Land.

“When I talk about the Land, it’s always with a capital L,” Cheryl said.