A Capital Spring

RockCreekELog

Today winter officially packed its bags and departed, and spring took the throne. It ought to come as no surprise, because we have seen it coming for weeks in the swelling tips of branches, the green points pushing up through the earth, the increase in morning birdsong that disregards Daylight Savings Time. Nevertheless every year it astonishes.

Much poetry and prose has been written in praise of spring, but if you have not yet stumbled across Louis J. Halle’s Spring in Washington, let this be the year. Beginning in the mid-1940s, Halle (1911-1988) worked in Washington, DC for about ten years at the U.S. State Department. Although Halle was a citydweller with a theoretically brief commute and could have dozed until practically the last minute, instead he had the habit of rising before dawn, hopping on his bicycle, and heading out for a ten or twelve mile exploration of DC’s wild green pockets and fringes before heading to the office.

No doctor ever prescribed a view of the open world for me, though it was the tonic I needed, rather than something to take in a glass before meals.

In 1947 he published Spring in Washington, an account of his wanderings. With wisdom, humor, an artist’s eye and a poet’s quill (well, in his case, a typewriter) he shared his observations and discoveries throughout the approach, unfolding, and departure of one expanded spring: January to June, 1947.

To snatch the passing moment and examine it for signs of eternity is the noblest of occupations. It is Olympian. Therefore I undertook to be monitor of the Washington seasons, when the government was not looking. Though it was only for my own good, that is how the poorest of us may benefit the world. A more ambitious man might seek to improve the President of the United States.

Each year I drag this book out and read aloud passages to my family. As I leaf through it now, searching for representative quotes, it’s difficult not to reproduce the book in entirety.

The muskrat swims and raises its young in the woodland stream beneath Connecticut Avenue, never knowing of the crowded buses and taxis that swarm overhead… Roaches Run is a marshy lagoon trapped between the National Airport, on one side, and the railway tracks on the other. Ducks and gulls and herons have remained faithful to it, despite low-roaring airplanes and smoke-breathing locomotives. They are accustomed to these dragons and these pterodactyls, regarding them not.

Halle moved on (his field was actually foreign policy), along the way publishing 22 books, eventually retiring to Switzerland. Plenty of hiking opportunites THERE. He made a visit to DC in 1988, to help launch a new edition of this book, the rights to which he had long ago turned over to the Audubon Naturalist Society (where his book can be obtained). While here he went birding and biking in some of the same old wild green places, which, remarkably (thanks in part to folks like himself), still survive for a venturesome bureaucrat’s early morning ramble.

In early March I look at the apparently lifeless skeletons of the elm trees on the Ellipse and say to myself that in two weeks they will be flowering, as the trees have flowered here for a hundred thousand years. In the middle of April I say that in another ten days the city will be full of singing wood thrushes, though there is none here yet. I know all this will be, but it seems to me so miraculous that I cannot take it for granted.

A few months later he made his own final migration to the great Beyond. Even if he had done nothing else on earth, this jewel of a book that resurfaces each spring, endlessly amusing, sensitive, and wise—an everlasting source of inspiration—would suffice. Happy Spring, Louis Halle.

(This sketch is from a family ramble through Rock Creek Park, mere minutes from our utterly urban home.)


Spring Moon

FullMoon

Wherever you are on this last day of winter, cross your fingers for a clear evening sky, and at sunset climb onto your roof or a tree or a nearby hill to await the moonrise. Because this is the night of the Perigee Moon (from the Greek peri, “around” + ge, “earth”), an unusually large and bright full moon that occurs only about every twenty years.

The moon’s elliptical orbit around the earth means that sometimes it’s closer, sometimes further away from us; and tonight the full moon coincides almost perfectly with the moment of its shortest distance to earth. The apparent increase in size is about 14%, which is enough to make a visible difference. After all, if your weight suddenly increased by 14%, wouldn’t your family notice your unusually large full moon?

Accompanying the large lovely moon will be a noticeable but not alarming rise in the tides, and perhaps an increase in howling. Also, this morning at breakfast we discovered that last night everyone in the family had slept very badly. Was it the dinner? Or, because we earthlings are composed mostly of salt water, could the nearness of the moon affect our inner tides, and therefore our sleep?

See you out there! In the meantime, here are two moon poems suitable for the Eve of Spring.

For another eve-of-spring picture, please see Dream of Spring.

Face of the spring moon–
about twelve years old,
I’d say.

—Kobayashi Issa

who knows if the moon’s
a balloon,coming out of a keen city
in the sky–filled with pretty people?
(and if you and i should
get into it,if they
should take me and take you into their balloon,
why then
we’d go up higher with all the pretty people
than houses and steeples and clouds:
go sailing
away and away sailing into a keen
city which nobody’s ever visited,where
always
it’s
Spring)and everyone’s
in love and flowers pick themselves

—E. E. Cummings


CakeBalloons2Janet


The Faces of Misfortune

NebaGarden

The mind flinches as it tries to absorb the devastating succession of natural disasters that have taken place merely within the last few years. Hurricanes in the Gulf of Mexico; multiple tsunamis in Indonesia; earthquakes in Haiti, Chile, New Zealand; innumerable floods, landslides, volcanic eruptions and wildfires. And now Japan, with scenes surreal of wreckage and relentless rushing waters and lives swept away—a triple whammy of earthquake, tsunami, and nuclear catastrophe.

Here is a sketch from a visit we made to Japan when our son was teaching there. No matter where we went, total strangers were invariably kind, helpful, and generous, never hinting at the fact of our having dropped atomic bombs on them (the only country in the world to have suffered thus). On a walk one afternoon, we stopped to watch a woman working in her garden. Eventually noticing us, she invited us to see the rest of her garden—and her house—and meet her mother—and finally sent us off with just-harvested potatoes, radishes, and strawberries. This was absolutely typical of the entire trip.

I realize that politeness is a Japanese cultural value. There is a stiff-upper-lip quality that makes me think of stories about post-Blitzed World War II British (is there something about tea?), a characteristic that may lengthen the road to an American-style intimacy. But such sturdiness, resilience, and grace in the face of misfortune can be a blessing and a gift. Shikata ga nai.

The earth has grown so populous that natural disasters have enormous human impact, and simultaneously grown so connected that our common awareness of them is nearly instantaneous. The entire globe is now, truly, at our fingertips. It is theoretically possible to call up a picture of Anywhere, Earth, on the smartphone in one’s hand, if it has been visited by someone with a camera. And, thanks to international airlines (which actually used to be quite a speedy form of travel), many—through school or vacation or international aid organizations or family connections or business—have firsthand knowledge of worlds far from home. From knowledge, connection. We already carry the peoples and landscapes of the earth in our minds. The natural next step is the heart.

If you want to help, one way is to make a donation through the American Red Cross.


To Err is Divine

ComedyErrors

If you live in the Washington, DC area and you would like to spend two hours in culturally elevated laughter, run run run to the Folger Shakespeare Library and purchase a ticket to A Comedy of Errors.

You may already be acquainted with the plot—lost and separated twins, eccentric servants, misguided lovers, amusing mix-ups, and a happy ending all around (which familiar elements—except for the last—Shakespeare adopted from ancient Roman comedy). But it’s well worth another viewing in this current manifestation, framed somewhat unusually in a manner I will not divulge, and influenced by Italian Commedia dell’Arte with its masks, wild costumes, and physical gags, here not excessively annoying. The Folger Theatre itself is worth the visit, a warm, wood-paneled and intimate space that feels more residential than institutional.

My daughter and I saw a mid-week matinee for school groups, most of them high school students greatly appreciative of the bawdy jokes that went over the heads of our younger homeschoolers.

For another illustration in celebration of this day, please see Saved by the Bell.

Action Jackson Part 2

Pollock2

Continued from Action Jackson Part 1

So how did a guy born in Cody, Wyoming who grew up mostly in Arizona and California and studied under Thomas Hart Benton (of all people!) end up as a leading New York figure in Abstract Expressionism, the first major made-in-America artistic movement? Well, that is one of the Mysteries of Art. Perhaps it required a sensitive, moody, depressed, violent, tormented, socially inept alcoholic—someone connected by the thinnest of threads to all that stuff so important to the rest of us—to throw off the last vestiges of representation and rip the painting from the easel (actually, right off the wall altogether) for its completely non-referential expression, to be fully about itself. (At least in its final state. Pollock himself acknowledged that he began a painting with representational imagery, albeit skeletal, which eventually became obscured in the process.)

Also, timing is everything. History is full of sensitive moody depressed people who never launched an art movement, or anything else, and if one of them had started flinging paint around he would have been institutionalized rather than invited to give a one-man exhibit at the Guggenheim.

A Pollock in reproduction is a mere footnote to the actual work. Personal experience of its scale and physicality are critical to appreciation and understanding of its active surface and sense of immense depth. If full understanding is actually possible. Standing before it is an odd experience, at once overwhelming, intimate, and liberating. The powerful presence of the paint, presumably devoid of pictorial illusion, nevertheless sucks the viewer in, at once baldly honest (it’s only paint) and limitlessly suggestive (of raw energy, recklessness, fury, joy, the starry firmament, the birth of the universe!). Its material immediacy combined with its non-objectivity transforms the viewer into a participant who simultaneously sees and re-creates the painting. It’s interactive art.

Pollock was at his most stable and exalted (I can’t say “happiest”) while painting. Between phases of work he was tormented, despairing, self-destructive to the point that his sad end in an automobile accident may actually have been an act of suicide. But his work, which a therapist had once suggested might help relieve his pain, had probably extended his life.

Reflect on the geniuses you know. Aren’t they famously troubled, eccentric, even downright unpleasant? Ah, and yet we forgive them, because they have opened a door to a new way of perceiving, when we hadn’t even realized there was a wall blocking our view.

CakeSnowmanAdam

Yahrzeit2 Jane


American Scrapbook

AmerScrapbk

Unbelievably, it has been FIFTY YEARS since the inauguration of John F. Kennedy, and in honor of this anniversary the Kennedy Center here in Washington, DC has created a blockbuster lineup of events. Both President and Jacqueline Kennedy were enthusiastic supporters of the arts, so the celebration includes a bounteous variety of musical, theatrical, and dance performances, some ticketed and some free of charge. It is, after all, the Kennedys who helped bring to fruition a long-languishing plan for a National Cultural Center, which was renamed the Kennedy Center after Kennedy’s assassination in 1963.

Whatever you may think of its architectual style, you must acknowledge that it’s been a fantastic addition to the Washington cultural scene all these years, providing a setting for a huge range of artistic performances (including Millennium Stage, with 365 free performances a year!) and inspiring the launch of many additional venues. And it has a lovely view from the terrace. Anyway, we’re all used to it now, as a familiar icon for which we feel affection, like some eccentric great-aunt who is known for her peculiar hats.

As part of a homeschoolers’ outing, my daughter and I attended American Scrapbook, A Celebration of Verse, a theatrical interpretation of some of the Kennedys’ favorite poetry. The family had a lovely tradition which (WARNING) will assuredly make you long to go back and raise your semi-literate, poetry-impaired children all over again: for the parents’ birthdays, the children Caroline and John Jr. each chose poems and then created drawings to accompany them, which were then pasted into a scrapbook.

This scrapbook collection inspired the play, which was essentially a seamlessly interwoven, thematically arranged series of “recitations”—although I hesitate to use that dry schoolhouse term, because the interpretations were so engaging and heartfelt. (I tried to sketch, but it was pretty dark and the actors were awfully “active,” thus the rough, scribbled result.)

The set was simple, modest, effective: tall wooden shutters that opened and closed in a variety of configurations to reveal changing images that supported, rather than distracted from, the spoken word.

Lively, imaginative, yet true to the spirit of the poems, the program transfixed the audience of elementary and middle-school children for an hour, which, when you’re talking about poetry, is truly a laudable achievement.

CakeEiffelWalter