Tag Archives: Walden

WINTER AND WHITE SPACE

WINTER IS A GREAT TIME FOR NOTICING the little things. Maybe a clump of snow dropping silently from a bough. Maybe a red fox trotting up the driveway. Maybe the shimmering snow crystals called “diamond dust” that sometimes, on very cold days, drift down from a blue sky.

WinterWhite-lowres

art courtesy of Glenn Wolff
visit www.glennwolff.com

For years I’ve been trying to simplify my life in an effort to be more aware of such things, but I haven’t made much headway. The effort always makes me think of Thoreau, in Walden, where he famously scolded us to “simplify, simplify,” then proceeded to weave a deliciously complex tapestry of a book. It’s as it should be. The most enduring books, like natural communities, are made stronger by their complexity. Those tens of thousands of words in intricate arrangement focus our attention, expand our view of the world, and remind us that we’re surrounded every moment by an unimaginable abundance of things. Surely our greatest achievement has been to make language a proxy for the stars in the sky, for snowflakes and flocks of birds and people on a street, for the countless sensation-packed moments that make up our lives.

Maybe we seek the spare and elemental in nature for the same reason that the protagonist in Don DeLillo’s Cosmopolis reads poetry: “He liked spare poems sited minutely in white space…Poems made him conscious of his breathing.” What if the simple life—the only one we can hope to find—is found within the white-space of the world?

But of course we’re not simple creatures. Bare moments don’t hold our attention for long. Eventually most of us require more than white space and cloud spout; more than the twice-warming flames in a fireplace; more than the monkish austerity of a single room, a candle, and a few books. Thoreau’s enthusiasm is infectious—“Think of our life in nature…rocks, trees, wind on our cheeks! The solid earth! the actual world! the common sense! Contact! Contact!”—but I suspect that we’re more interested in his boldness and passion and the complexity of his mind than in the simple life he espoused. The louder Thoreau crowed in praise of simplicity, the more convincing became his argument against it.

Yet there’s the winter landscape. This morning, after a night of fresh snow, the field behind my house was almost nothing but white space, with only a few stems of dried knapweed and goldenrod rising above it. The stems marked the snow like ink scratches on a sheet of paper. It was the sparest poem imaginable: a single letter at the top of the page, a slash in the middle, a comma near the bottom. I almost couldn’t bring myself to spoil it. But then I set off across the field in my clumsy boots, thinking of this and that––and left a meandering trail that will be there until the next good snow erases it.

(This essay first appeared as a “Reflections” column in Michigan Blue Magazine. Copyright 2016 by Jerry Dennis )

THIS BOUNTIFUL WORLD – (THE MEANDERING PATH OF A BOOK IN PROGRESS)

Virtuoso Performers

forest

Forest (photo © 2011: Steve Tracey)

I was up early this morning, listening to the dawn chorus. Is anything more emblematic of spring than the singing of birds?

Several people have written to say that they enjoyed the links to bird songs in Friday’s “Liquid Bars of Melody” post. Steve Tracey reports from the Upper Peninsula that he staved off cabin fever all winter by listening to bird songs on his computer and watching the antics of his year-old English setter Forest as he was driven nuts trying to figure out where the birds were hiding. Happy Birthday, Forest.

My friend Mary Ann Linsell wrote to say she particularly enjoyed the white-throated sparrow, with its two-toned song so famously interpreted as “Old Sam Peabody, Peabody, Peabody.” It brings to mind the early 20th century ornithologist and musician F. Schuyler Mathews, who considered phonetic transcriptions of bird song an insult to the birds. He pointed out that the song of the “Peabody-bird” could just as easily be articulated as “Sow wheat Pe-ver-ly, Pe-ver-ly, Pe-ver-ley,” or “All day whit-tl-in’, whit-tl-in’, whit-tl-in’.” The same was true, he said, for every phonetic interpretation of every bird’s song. To correct that imprecision he labored for twenty years to transpose the songs of 127 species into dots on staves, and published them in one of the earliest identification guides to birdsong, Field Book of Wild Birds and Their Music, A Description of the Character and Music of Birds, Intended to Assist in the Identification of Species Common in the United States East of the Rocky Mountains (1904; expanded and reprinted in 1921).


sparrow song

The song of the white-throated sparrow as transcribed by Mathews

[The Cornell Lab of Ornithology's recording of a white-throated sparrow is here]


Although Mathews’s scores can be played on a piano, he insisted that to perform them accurately they must be whistled. It would take a whistling prodigy, however, to do justice to some of those songs. They include dazzlingly complex chords made by birds equipped with twin vocal mechanisms that make it possible for them to sing two notes simultaneously. Also represented are songs composed of cascades of notes—virtual waterfalls of notes—as dense as 64 to the bar. And there are songs to be whistled that we will probably never hear, such as the “strident and insectlike” song of the grasshopper sparrow, which Mathews admits is pitched “so high that 9 out of 10 people can’t hear it singing 30 feet away.”

More recently, ornithologists have counted the music output of certain songbirds and come up with astonishing figures. A red-eyed vireo was once observed singing a two- to four-note song a total of 22,197 times in a 14-hour period. The marsh warbler of Europe, Africa, and Asia spends two months of the year in its breeding grounds from the British Isles to the Ural Mountains of Siberia, then migrates to tropical Africa—a round trip of as much as 4,800 miles. During those long migrations it hears a great variety of songs from other birds, which it faithfully incorporates into a repertoire it puts to work during three to four days of virtually non-stop singing in the spring. A Belgian scientist who spent ten years studying the warbler’s song found that it mimicked as many as 210 other species during each 30-minute burst of song.

A musical prodigy closer to home, and a particular favorite of Gail’s and mine, is the brown thrasher, which should show up any day here in northern Michigan. This large, thrushlike bird has the greatest repertoire of any North American songbird and has been credited with as many as 3,000 melodies. For its performances it likes to take up a position at the top of an aspen, birch, or crab apple in partially open terrain where it can be seen and heard to full advantage. Once you hear its performance you’re not likely to forget it. It strings together jazzlike riffs mimicked from other birds and some of its own invention, and delivers them with ceaseless energy. Mathews noted that the song offers these words of advice to farmers: “Shuck it, shuck it; sow it, sow it; Plough it, plough it; hoe it, hoe it.” Thoreau reported in Walden that the brown thrasher’s “rigmarole, his amateur Paganini performances,” kept farmers company as they planted corn with the constant reminder:  “Drop it, drop it, —cover it up, cover it up,—pull it up, pull it up, pull it up.”


brown thrasher

The song of the brown thrasher, as transcribed by Mathews

[The Cornell Lab of Ornithology's recording of a brown thrasher is here]


…And Birds on Wires

Finally, while on the subject of birds and musical notation, here’s something strange and wonderful that a friend found on YouTube and sent along:

https://www.youtube.com/watch?v=LoM4ZZJ2UrMhttp://