Love does make the world go round

Last Friday we set out for Steamboat Springs in northwestern Colorado, bound for Colorado Art Ranch's third "Artposium," a weekend devoted to exploring what art has to say about some subject important to life in rural Colorado. In this case, the issue was land conservation, and the weekend's doings took place at The Nature Conservancy's Carpenter Ranch twenty miles down the Yampa River west of Steamboat, in the shadow of the towering stacks of the coal-fired Hayden Power Plant.

I wrote right up to the time we left, putting my computer to sleep with just enough time to whip up a picnic lunch, including steamed asparagus spears, sweet and fresh from the garden, and then hop into the car. It took me the half of the drive to decompress. As we headed out of Kremmling, passing through stunted sagebrush shrublands on the gradual climb up Muddy Creek toward Rabbit Ears Pass, I looked around for spring wildflowers.

I was scanning the high desert when I noticed what looked like clumps of wet snow on the bare, crumbly soil between the twisted sagebrush. Only it was a warm afternoon, in the mid-seventies; what I was seeing couldn't be snow. Then I realized: phlox! It was Hood's phlox, a mat-plant that covers itself with starry white blossoms in spring if winter snows wet the soil.

I pointed the "snowflake" phlox flowers out to Richard as we whizzed along; he pulled over and we got out to look. Wandering among the sagebrush, we spotted other wildflowers not visible at 60 miles per hour: clusters of ball-cactus with pink flowers, a ground-hugging locoweed with ivory blossoms tinged with purple, and a desert-parsley with lacy green leaves and tiny sulfur yellow flowers. All were flagrantly advertising their availability to passing pollinators, whether flying or crawling, all gambling their energy on reproduction. I stopped to photograph a particularly nice pairing of phlox and ball-cactus and as I was composing the shot above, a steady chorus insinuated itself into my awareness from the wet meadows across the highway.

It was peepers, western chorus frogs, calling for mates from the shallow ponds created where the winding creek, full with snow melt, had overflowed its banks. I stood up to listen, and grinned.

"It's spring," I said to Richard. "The peepers are calling for mates, and the wildflowers are hollering for pollinators. Everybody's focused on reproduction."

As we drove up and over Rabbit Ears Pass, where the high country was still deep in snow, Richard reminded me that a quarter-century ago, I had first shown him his first glacier lilies somewhere along this very highway. We dropped down the west side of the pass, and I spotted bright yellow flowers on a hillside.

"Glacier lilies!" I said.

Richard braked, whipped a u-turn in the highway, and drove back. We parked and dashed across the road, hand in hand. Sure enough, there on the road-bank were unmistakable glacier lilies, sunshine yellow atop grass-green stalks above wide lily leaves. I stopped to photograph one clump. Crawling all over the flowers with their reflexed petals and yellow anthers dripping rich pollen grains were small beetles. The insects were alternately gathering pollen--thus fertilizing the flowers--and copulating. The whole landscape, it seemed, was in the mood for love.

What does art have to bring to land conservation? Just this: like the snowflake blossoms of the Hood's phlox, the western chorus frogs, and the pollen-gathering beetles on the glacier lilies, it reminds us to stop and pay attention. It shows us the same old world in a new light. And sometimes it shows us that love, whether for one wildflower or a whole landscape, does indeed make the world go round--or at least parts of it.

Greening the places we live

Since returning from Albuquerque last month, where I spoke at the New Mexico Xeriscape Council's national conference on water conservation and sustainable landscaping, I've been thinking about the rich rewards of living close to nature, of nurturing the community of the land right at home.

My husband, Richard, and I live on a half-block of formerly decaying industrial property on what used to be the wrong side of town, a place that once was a blight in its neighborhood and now blooms so exuberantly with wildflowers in summer that passers-by stop to take pictures. Our kitchen garden, sprouting in raised beds where above-ground oil tanks once sat, is so bountiful that we feed friends and family and still have enough left over to feast ourselves. Our house, while not yet finished, is so full of light and so inclusive of the views from all around that people exclaim in delight about its connection to the world outside when they walk inside.

In the decade-plus since Richard and I adopted this property, we've put in a lot of work. But it hasn't been hard, or expensive to return the place to health. It just took vision, and a good deal of stubbornness. (The latter, anyone who knows me will tell you, is a quality I have in spades.) The return for our work is an abundance of joy in watching what we've nurtured grow and flourish. Greening this half-block gives us hope that our species can have a positive impact on the places we live. It's profoundly uplifting to see what living lovingly and generously on the land can do. It brings us home as part of the community of the land right here where we live. That's a gift I cherish.

(For more on the story of our restoration of what we only half-jokingly call our "decaying industrial empire," read my entry in the Audubon Magazine blog: "Greening our very own decaying industrial empire.")

A two turtle trip

Richard and I just returned from a 3,300-mile road trip across the Southern Great Plains. Our odyssey took us across Colorado and New Mexico, the length of Oklahoma - panhandle and all, and into Arkansas, where we spent a day atop the state’s tallest peak, 2,753-foot-high Mount Magazine. We drove south to the Texas Hill Country with its limestone caves, bat flights, and spreading live oaks.

In Austin, I interviewed Mark Simmons, a plant ecologist passionate about the need to re-wild urban open spaces at the Lady Bird Johnson Wildflower Research Center for an article I'm researching on living roofs for Audubon magazine. From there we headed south to the border at Eagle Pass and then back to San Marcos in the Hill Country, where I spoke and taught a workshop at the Land Full of Stories Conference. From San Marcos, we headed home via Marfa in West Texas, where Richard immersed himself in minimalist art at the Chinati and Judd Foundations' collections, and I finished up the sidebars for an article for National Foundation for Advancement in the Arts' youngARTS magazine. Then we crossed the Chihuahuan Desert and followed the Rio Grande north through New Mexico to home.

But it’s the turtles that stick in my mind from the trip. We spotted them everywhere: in roadside ditches, bayous, springs, in the blue flow of Hill-Country rivers. And on the roads too. Sometimes moving slowly on leathery legs, sometimes dead, shells cracked and innards gaping.

We stopped to move the first one off the road in Arkansas. It was a big painted turtle, its shell a calligraphy of markings that turtles apparently read to identify each other. In far south Texas, we stopped for a slider whose shell grew a mossy garden of algae, perched on the centerline of a highway nowhere near a stream. After Richard toted it to safety, we sped on, hoping the turtle knew where it was going.

One morning in San Marcos, we passed a huge red-eared slider struggling to climb a curb at the edge of a four-lane street. I hopped out, darted over and picked it up, my hands slipping on the turtle’s dinner-plate-sized shell.

It kicked, twisting hard. I dropped it, and my heart thudded as carapace hit concrete.

I picked the big turtle up again, gripping the slick shell firmly, and lifted it carefully over the highway fence. Then I waited, heart in hand, until its head emerged.

The last turtle we met on the trip was in an inner courtyard of a famous sculptor’s home in Marfa. The tour guide opened a wood door to let us look into a spare space enclosed by nine-foot-high adobe walls. A small, three-sided green “room” delineated by living bamboo walls punctuated an empty expanse of gravel and brick.

“There’s a tortoise with a cracked shell in here,” she said. “It’s been here for years,” she added, “probably rescued from the highway.”

A high-domed desert box turtle with a split creasing its shell hunkered in a patch of shade, watching us with unblinking eyes.

As we drove away, I thought about that box turtle: it had all the bamboo it could eat, water from a sunken pool in the courtyard floor, sunny spots to bask in and shade for rest. But it could not get out, and no other turtle could get in. So it would live out its life alone, sentenced by its injury to a courtyard prison instead of free to roam the desert grasslands.

And I wondered - I still do - if the person who hit that turtle even noticed the thump. Or if they drove on, unaware.

A Native American origin story tells how the world began as a watery place, with no land at all until toad dove deep beneath the surface and emerged with a bit of mud in his mouth. After the other animals plastered that mouthful of mud to turtle’s shell, the earth grew and grew until it became enough land for everyone.

Turtle, says the tale, still carries the world with room for us all on her shell.
(revised 6/19/07)