Perfect moments can be had

Hot air balloon among the red rocks of Sedona

A life is like a garden.
Perfect moments can be had,
but not preserved, except in memory. 
Leonard Nimoy

The setting of BLOOD IN TAVASCI MARSH

Autumn Cat tails at Tavasci Marsh

The most frequent questions I get about the title of the second
Pegasus Quincy novel are:

How do you pronounce Tavasci?
That one is easy: Tah-vas’-ski

AND,

Is Tavasci Marsh a real place?
It certainly is!

I’ve lived in the Verde Valley for many years, and Tavasci Marsh is one of my favorite places to visit.

In addition to all those golden butterflies hovering around the rabbit brush, over 245 species of birds have been found there, making it one of the premier birding areas in Arizona.

The marsh has an interesting history. With only 10-12 inches of rain per year, Arizona counts any water source as precious, and Tavasci Marsh is the largest fresh water marsh in Arizona outside the Colorado River Basin.

It was formed when the Verde River formed an ox-bow, a sharp, almost U-turn in the river, and, then capriciously, returned to a straighter course. The water left by the abandoning river created Tavasci Marsh, which continues to be fed by Shea Spring and by underground seeps from the river.

The marsh was a food source for the Sinagua Indians who built a large hundred-room pueblo on the top of a nearby mountain, now managed as Tuzigoot National Monument. Their first dwellings were dated about 1000 AD, and it wasn’t until almost 900 years later that the first white settler arrived.

He was a cattle farmer in the 1890s, whose name, Tavasci, was given to the marsh. He drained the wetlands so that he could raise beef cattle to feed to the copper miners working in the nearby boom town of Jerome.

The owners of these copper mines, which stripped incredibly rich copper ore from Mingus Mountain, eventually acquired the marsh. The huge copper smelters in Clarkdale were only a few miles beyond the marsh on higher ground. This geography, coupled with the fact that mining operations were so imprecise in the early days, caused Tavasci Marsh to become highly polluted with heavy metals, from slag and tailing run-offs.

Even today, there are high levels of arsenic, barium, cadmium, lead and other poisonous metals in the soil and even the insects of the marsh. A restoration project has been proposed to change this unfortunate state of affairs!

Spring cat tails at Tavasci Marsh

When the mines closed down in the 50s, the land reverted to a more natural state, and beaver had a renaissance. Their dams turned the dairy farm lands back into a wetlands marsh.

The desert mesquites and acacia trees were drowned by the rising waters, but they provided an ideal environment for cat tails. Today, much of the marsh is inundated by these tall marsh plants, so much so that open water is increasingly rare.

Doug van Gausig has been called the Bird Man of Tavasci Marsh, and sometimes hosts field trips to Tavasci Marsh during the annual Verde Valley Birding and Nature Festival, affectionately known as the Birdy-Verde, each year. Here you can find a number of migrating waterfowl, raptors such as the brown and golden eagle, blue and green herons, and animals such as river otter and, of course, beaver and muskrats.

Doug has ventured into Drone Photography, and has several great YouTube videos that give you another perspective on Tavasci Marsh:

In this one, you can see a river otter investigating a water sampler:

 

In short, Tavasci Marsh seemed the perfect place to stage a murder, so I did!

Every now and then I get an email from a reader with a picture of Flycatcher Road or Tuzigoot Monument, saying “We found it!”

I hope, someday, that you will, too.

 

 

Finding Water: The Fine Art of Persistance

Finding Water Art of Persistence Julia Cameron

 

My sister’s book club is reading one of Julia Cameron’s books, It’s Never Too Late to Begin Again: Discovering Creativity and Meaning at Midlife and Beyond. I promised her I’d take a look at it. I did, and it is delightful. I recommend it highly!

In the process, though, I came across another book by Ms. Cameron, entitled Finding Water: The Art of PerseveranceI was delighted, because I’d read the first two of this trilogy when I was in art school: Drawing on the Right Side of the Brain and the Artist’s Way. Also highly recommended, by the way.

Julia is no novice to the challenging world of being creative. She’s been at it for 30 years and during that time has written–and had published–over 30 books! Would that I were that successful.

In many of this author’s books, she recommends a practice of three simple acts: 1) morning pages, a type of handwritten journaling, undertaken first thing in the morning; 2) making an “artist’s date” with yourself to explore some new facet of your environment; and 3) a long walk, at least once a week, to connect with nature. I’ve found all three to be richly rewarding.

In Finding Water, Julia encounters writer’s block, rejection, and discouragement as she readies a play for the New York stage. She speaks of the paralyzing effects of perfection. I can relate.

Julia’s inner critic is named Nigel, and Nigel has rules. “A critic such as Nigel has doubts, second thoughts, third thoughts. The critic analyzes everything to the point of extinction. Everything must always be groomed and manicured. Everything must measure up.”

“…an original thought may be disturbing, even dangerous. It wants to see what it has seen before. It has seen a cow, but it has never seen a zebra. Don’t try to tell it that a zebra might be interesting. Those stripes don’t look like such a good idea. Get those zebras out of here!”

I gave Julia a high five for that one. My critic and Nigel are old war buddies. Brothers-in-arms, soldiering on, unappreciated, firmly declaring that black is black, white is white, and forget about all those colors in between.

Right now I am struggling through the simultaneous editing of two works. In my writing critique group we are examining, for the umpteenth time, the first chapter of my next book in the Pegasus Quincy Mystery Series, Fire in Broken Water. 

I’ve read the last chapter of this same book so many times it is almost memorized, and yet my critic–let’s call him Clarkson–is still finding egregious errors any sixth-grader could correct in their sleep.

And when we take a break from that one, the two of us, Clarkson and I, are weaving together a new, very rough draft of the fourth novel in the series called Peril in Silver Nightshade.

Clarkson is having a field day. “You wrote what?” “Don’t you know you can never mix first and third person narratives?” “Info dump. Info dump. Info dump,” he chants.

I want to shout Shut up! in his overly large, cauliflower-shaped ears (the better to hear you with, my dear) and consign him to the upstairs, unheated garret. It is near winter here in Michigan, and that would be a fitting place for him. Although he has this loud screeching voice that would undoubtedly echo through the register.

But to be honest, I need his help. The fairy child has created these lovely works of art, and now it is time for her evil cousin to have his way. And perhaps he isn’t so evil, after all. He is persistent and perfectionistic. I must learn to accept that he is also a part of me, and appreciate what he brings to the table.

I am not sure if I believe in the left brain/right brain dichotomy. It seems much too simple an explanation of the complex workings of our mind. Yet there is a push/pull, an internal dialogue always at work. And that, too, is part of the creative process. I need both the fairy child and Clarkson, just not at the same time, in the same room, talking over each other.

What about you? What do you call your inner critic?
How does it muck about in your creative life?