This was such a cool discovery! It is both a model of design, with all those zigzagging textures, and the actual event, a wisteria vine too stubborn to quit.
When the plant found itself blocked, it changed direction not once but several times. And it isn’t a young whippersnapper of a vine. Take a look at the thickness of girth–this plant has been here for years, patiently finding a path through difficult situations and creating beauty in the process.
As I grow older, things that were once easy for me are sometimes harder to accomplish. But I have grown in wisdom through my experiences. I have become the guru of “work arounds.”
My parents of pioneer stock would be proud.
You are never too old to set another goal
or to dream a new dream. ~Aristotle~
I was walking one morning and discovered in an old sycamore snag, this entrance to a Gila woodpecker nest. The birds are opportunists and will dig out rotten bark to make a soft, protective nest for their young.
What struck me about this opening, though, were the number of false starts that surround it. The bird didn’t immediately say, ah, here, I will build my home. Instead, view the number of beginnings and first attempts that surround it.
Perhaps we should be more like the woodpecker. For each creative endeavor that we try, there will be several tentative jabs and pokes until we find our true stride!
Sculpture is the art of intelligence. ~Pablo Picasso
I love books where I sense the amazing complexity of human experience. RACING TO THE FINISH, a memoir by Dale Earnhardt, Jr., NASCAR racer, is such a book.
Let me start by saying I’m not a NASCAR fan. I’ve never been to a race, although I’ve seen them on television. Who can forget the sight of those cars zooming around the track at the Daytona 500?
There are crashes galore in this book. For example Dale describes this one at the Talladega Speedway in Alabama:
“It started a chain reaction that would end up wrecking twenty-five cars…Tony got sideways, fell out of the lead, and slid helplessly up into our pack. He was hit simultaneously by two oncoming cars and flipped into the air…He sailed by me as I started braking to keep from hitting anyone too hard as cars were out of control and all over the place right in front of me. As we all kept sliding and other cars kept smashing into each other…
…When you’re in the Big One, you’re just like a boat stuck in a storm. You can react and steer and dig all you want, but really, you’re just praying for the best. You have little or no control. It’s just screeches and smoke and chaos. What you don’t want to hear is that crunch, that smack that tells you that you’ve been hit.”
What spectators miss is what happens next. Like heavy-weight boxers or professional football players, race car drivers are at extreme risk for traumatic brain injury. And, like other professional sports players, these injuries often go unreported for fear of losing jobs or being considered a coward or weakling. It’s a strange world out there.
The motto from his family seemed to be, “just put a washcloth over it,” or “tape an aspirin to it” and keep on racing. Dale was different, though, in that he started keeping a journal on his iPhone of the symptoms he was experiencing after these crashes that were considered part of his job.
Through the book the reader experiences both sides of his physical and emotional world: the extreme highs of fast-speed track racing and the aftermath of pain and confusion after a bad crash.
In journal entries Dale describes the post-race symptoms:
“Thursday I felt hung over and frustrated all day…Friday, I seemed to wake up really slow and feel groggy and not sharp…The three different hits into the wall that Sunday were 20, 13, and 23 Gs…There’s a lot of things I do today that frustrate me. Mid-sentence, not being able to find the words to finish. ..when in vocal conversation I choose the wrong word or can’t find the word to complete my thought, that makes me so sad and scared.”
Dale gets the help he needs to retrain his brain, but then re-injures it and has to start over again.
He was unstintingly honest about what he did, and why. When he eventually retired, it was to a celebration of people who loved him.
An uplifting book with a strong message for all of us. I thoroughly relished going along for the ride.
Isn’t this a great saguaro cactus? I found it in one of the mountainous parks in the middle of Phoenix. One of the marvelous things about that burg is that there are SEVEN mountain peaks you can climb, right within city limits. I’ve been up most of them, and they can be a tough scramble.
Back to the saguaro. Did you know they don’t even start putting out limbs until they are 50 years old? By that tally, I’d estimate this cactus is pushing a hundred–or more. Not moving, just standing there tough, watching the world go by. You’ve got to appreciate patience like that.
~Don’t give up!
Good things take time,
and you’re getting there. ~Anonymous~
Every Thursday night our local Wendy’s donates their lot space to a classic car show. The guys (and it’s always the guys) arrive in the early afternoon, bring out their dust rags and start polishing ol’ Betsy for the show. Most of these vehicles get driven oh, fifty miles a month, back and forth to car shows.
My father-in-law, though, was a Master Mechanic during his lifetime. He had one vehicle, an old ’47 Chevy pickup, that he drove back and forth to work, on late night call-outs, and down to the parts store. He used to brag he’d never have a Ford in his driveway (Fix-Or-Repair-Daily he called them), but that he’d installed three engines in this Chevy and it was still running like a well-tuned watch.
He said that if you took care of things, they took care of you.
Recently, a family member took her computer in for repair, again. The tech told her that any more there is a “planned obsolescence” in computers–that if they last two years without turning into a boat anchor, you should consider yourself lucky.
I wonder what my father-in-law and his old truck would say to that.
I’d like to be a truck driver. I think you could run your life that way. It wouldn’t be such a bad way of doing it. It would offer a chance to be alone. ~Princess Anne of England
When I set out to write the Pegasus Quincy mystery series, I knew the first one, Death in Copper Town, had to take place in a mining town on the slopes of the Verde Valley. To make it realistic, I had to include the Ailanthus trees ubiquitous to that part of the Valley.
Apple trees in the old pioneer orchards make a surprise appearance in an upcoming Pegasus Quincy mystery, Silence in West Fork, to be published later this year.
Two trees on opposite ends of the Verde Valley bring together the spirit of the Verde Valley. One, the Ailantus altissima or Tree-of-heaven, populates the hilly streets of Jerome in the foothills of the Black Mountains to the south. The other, the humble apple tree, grows wild on the upper banks of Oak Creek Canyon to the north. Both have become a part of my life in Sedona.
First, the tree of heaven. If you travel up the mountain to Jerome in the spring, you’ll catch the “burned peanut butter” fragrance of golden blossoms. In the summer, the lacy green of the leaves frames the view across the Verde Valley like a Victorian lady’s parasol. Later in the fall, you’ll be surrounded by the crimson, sumac-like leaves drifting down to the worn limestone cobblestone streets of the old mining town.
The tree first became popular in eastern cities, because it was easy to grow and survived almost any kind of pollution. It became the title of Betty Smith’s book about family life in the tenements at the turn of the century, A Tree Grows in Brooklyn.
The air in the mining towns of the West was just as polluted. During the heydays of the copper mining, the smelter smog killed just about every living plant in Jerome. With the local pine and juniper decimated to shore up the mines, nothing remained to hold the soil and hillsides eroded. The town was endanger of slipping down into the Verde Valley below.
The “Tree of Heaven/Paradise Trees” that abound throughout the Upper Verde were part of a “re-greening” of the Verde Valley by Phelps Dodge when mining operations ceased in the 1950s.
Enter the ailanthus. It is an alien tree, first arriving in America from China in the 1700s. The tree is a survivor, thriving in the sulfur dioxide-infused soil of Jerome. It is also a selfish beastie, secreting a substance in its bark and leaves that, like the black walnut, inhibits growth of any other plants in the area. But the ailanthus likes the crumbling soil and arid conditions of Jerome, and it gives life-sheltering green to a town that was barren and dark after the mines left.
That being said, it’s not without drawbacks. According to Jeff Schalau, head of the master gardener’s program in the Verde Valley, “Most people start out liking the tree of heaven. It grows with little water, tolerates alkaline soils, and it creates shade. Most trees of heaven begin to produce seed at about 10 years of age. Male or female flowers are usually produced on separate trees.
“So, the after the 10 year honeymoon period, seedlings begin to come up everywhere. In addition, if the tree is damaged or cut down, then it begins to sprout from the roots. The tree of heaven also produces allelopathic chemicals that preclude other plants from successfully growing nearby.”
The second, the apple tree also came from China, arriving in America in the 1600s. It hitched a ride with the pioneers to Sedona a hundred years ago. Here it thrived on the banks of Oak Creek canyon in small orchards planted by early homesteaders. They would harvest the crops and trek wagon loads of apples up the steep canyon to Flagstaff to satisfy the hungry timberland workers living there.
Some years ago I helped my sister-in-law locate and map all of the old homesteads spread throughout the canyon. We found almost twenty old orchards, together with old trails once used by mountain lion and bear crossing the canyon.
The big predators are gone, but the trees remain. Many are on the outskirts of the tourist camp grounds: Manzanita, Pine Flats, Banjo Bill. You’ll see the cracked cement footings of an old cabin, some renegade lilac bushes, and these old craggy trees. If you look sharp you’ll spot them, interspersed in pine and fir stands near the water or tucked in at the edge of a penstamen-filled meadow.
Some have reverted to native stock, producing small sour apples, but others are loaded with green fruit, already ripening with a dusting of red. Come late September, they produce the best eating apples in the world, crisp and juicy, with a sweet snap as you bite into them.
Well almost the best. I think that distinction has to be the ones I stole from the neighbor’s orchard next door in the small South Dakota town where I grew up, a descendant of Scandinavian immigrants.
And in a way, these two trees, the apple and the ailanthus, are pioneers, too. They came from the other side of the earth and have adapted to surroundings very different from their native soils in China.
They are a legacy that makes the Verde Valley a very special place for all of us.
About four years ago I decided to write a mystery series based on young rookie sheriff’s deputy who lived in the Verde Valley of Arizona.
The Verde is a unique place, an oasis in the middle of the Arizona desert, with one major river and five tributary creeks.
It is on the flight path between Mexico and points south, and the entire US and points north, which means seven kinds of hummingbirds, golden AND bald eagles, and 300 hundred + other birds to watch!
It has a huge cement plant, a salt mine, pecan orchards, wine vineyards, a thriving artists’ colony, and some of the most magnificent red rock scenery in the world.
PLUS, a real live ghost town.
In short, a milieu crying out for a mystery series to be created. I wrote five books in rough draft, and then circled back around to start rewriting and publishing. The first, DEATH in COPPER TOWN, begins the journey for my heroine, Pegasus Quincy, with her adjustment to life as a cop, in an environment very different from her native Tennessee.
As a Valentine’s gift to you this week, 2-12 through 2-16, please accept a free Kindle copy of this debut novel through Amazon using this link. Enjoy!
What better way to spend an afternoon than with Annie Dillard and the clouds playing peek-a-boo among the red rocks in Sedona!
When I find my mind tracing the same tired circles looking for different results, sometimes a walk helps. It grounds me, literally, with each step my feet make on the earth. I find new energy, new presence, and a new faith in the rightness of what I am doing in the world.
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 Perseverance. I 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?