Once upon an empty plate, while I pondered, long and late Over many a quaint and curious cookbook of delicious delight, While I simmered the onions and butter, suddenly there came a flutter As of a gobble gobble at my door, a quiet gobbling at my door, ‘Tis my imagination, thought I, playing tricks at this dark hour. Only this, and nothing more.
Ah, distinctly I remember, it was late in a cold November, When all the pilgrims gave much praise for plenty of meat and stores of maize, And the natives, too, had gathered round to celebrate with joyful sound; From far away they made the trip, on ol’ Mayflower, their only ship. And then I heard the noise once more and looked about the kitchen door. Nothing there, just the floor.
And the onions cooking, sizzling slow, the celery sliced and diced so nice, Thrilled me—filled me with disastrous memories of Thanksgivings past So that now I thought, to quiet my heart, I stood repeating ‘Tis only a visitor I hear out there come to have a taste, ‘Tis only a visitor I hear out there, too soon, of course, For tomorrow I baste”
But in then strolled a fattened fowl, the biggest baddest turkey of all, Not a feather flew or dropped he; no, this big bird he never stopped, ‘Til up he popped upon the top of the stainless steel refrigerator. Much I marveled this Tom turkey that you might think that I’d gone crazy, No, I hadn’t even uncorked the wine, and the bird spoke, too, so clear and fine, These three words, “Why not ham?”
And then he said, I’ll never forget, “Hey, tomorrow’s not here yet. And you’ll have cranberry sauce and green beans, mashed potatoes and gravy, Maybe butternut squash and muffins, and, of course, that wonderful splendid stuffing, Maybe some creamed corn on the side, and for dessert, there’s plenty of pies. Man, I can’t barely wait for all these plates, but tell me, please, it’s not too late,” Quoth the turkey, “Why not ham?”
Last week, a friend sent along a message about November 14, noting that this day marked the publication of Moby-Dick by Herman Melville. That would have been back in 1851, making the book 168 years old. He also said that makes November 14, White Whale Day, too, so I thought I’d take some time to reflect upon a few things related to my blog.
I launched The White Whale in January with a post about “Bartleby, the Scrivener,” another story written by Melville, and its connection to a recent trip to NYC. Since then I have published fifteen blog posts, and I’ve done a tremendous amount of personal writing, I’d venture to say more than I’ve done at any other point in my life. My audience has grown over the course of the year, and as of today, there are 204 likes on my Facebook page, which may not seem like much, but I’m content, especially when I compare that figure with other blogs. My most popular blog post, so far, has been about the first Fourth of July in Montrose, Pennsylvania, the small town where I have lived for over fifteen years.
Along with the theme here of celebrating the birthday of Melville’s Moby-Dick, I’d like to say that I intended to reread the novel in the past year, tackling at least a page a day, but that fell by the wayside. I really do enjoy Melville’s writing, though, and in the past few years, I’ve stuck by my decision to have my students read “Bartleby, the Scrivener,” but I couldn’t get beyond the first few chapters of Moby-Dick. I was in graduate school the last time I read through the novel, and the book was on the oral exam list for my master’s degree. They asked me about the “shark sermon” delivered by the cook, Fleece, in Chapter 64, and I believe that at some point during my response, they decided he’s wriggled enough with an attempt to answer this question, let’s move on to something else. They had found my Achilles’s heel.
For those of you interested in reading Moby-Dick, or anyone that might also need a refresher, I’ve discovered that The New Bedford Whaling Museum in Massachusetts stages an annual marathon reading of the novel in January. For those who can’t make the trip, there’s a live stream available. This year the event is scheduled for the first weekend in January, and according to their website, the reading takes 25 hours. I’m hoping to hear the shark sermon, once again, as I continue to wrestle with that demon from my past.
I’d also like to say a few words about the thumbnail image I’ve been using for the past year. The illustration of Moby Dick rising out of the water, clutching a rowboat with panicked sailors, is well-known, as any internet search quickly reveals. The image appears on page 510 of the 1896 edition of Moby-Dick. From what I’ve gathered from a blog post about Moby-Dick’s artwork at Apollo, there had been several illustrated editions of Melville’s novels by this point, but it wasn’t until this edition that Moby-Dick had been published with illustrations, probably because of its mediocre sales. Enter Augustus Burnham Shute, who completed four illustrations for this edition.
Intrigued by his work, I’ve been ever slow to discover much information about A. Burnham Shute, as he signed his illustrations. According to another website, Shute is also credited with illustrations for Life on the Mississippi by Mark Twain. Two illustrators were hired at first, but as the publishers worried about meeting the book’s deadline, they brought on Shute to complete drawings for some of the chapters at the end of the book. What’s interesting, however, is that looking through copies of this book, Shute doesn’t sign his name to any of these illustrations whereas signatures of the other two illustrators are clearly identified with their pieces. I’m left wondering if the publishers wanted to disguise that Shute had been hired to ensure the project’s finish. Nevertheless, Shute is given recognition in modern editions, at least in the book’s credits, even if his name doesn’t appear alongside the artwork.
As I’m wont to do here at The White Whale, though, I started chasing something deeper about A. Burnham Shute, but there’s really very little to be found about him. No Wikipedia page. No biographies. Even my Norton Critical Edition of Moby-Dick includes no information on Shute’s biography or drawings. Many of his drawings are collected at the Wikimedia Commons, but in terms of biographical information, I couldn’t find anything.
It wasn’t until I searched newspapers for his obituary that I found anything specific about his life. According to the notice in The Boston Globe, which only runs a few paragraphs, Shute worked right up to his death on March 16, 1906, which lately had included book illustrations. The article states, however, that Shute first gained recognition as a newspaper artist, suggesting that Shute may have been the first artist to have his drawings published in The Boston Globe. Beyond his professional life, there’s almost nothing mentioned, so that remains a mystery, something to be chased on another day. Maybe the next time November 14 comes around I’ll have more to share about his life.
For now, I’d like to say thanks to my friend, John, for inspiring this post. Sometimes all it takes is a few words of encouragement, and I’ve found a new topic that interests me enough to do some research and writing. And likewise, thanks to all my readers over the past year as we continue to plumb the depths.
These past few weeks have been a whirlwind of activity, so much so, that I haven’t had time to really write proper posts for my blog, although I have been doing plenty of writing. Last weekend our local art gallery, The Butternut, opened the doors on its latest exhibit, The Making of Books: Illustrations, Installations, and Words, and after many years, my collection of poems about Montrose, Public Avenue, made its debut. I had about 25 copies on-hand for opening day, and I was happy to see people purchasing my self-published, hand-made books. Then, this past Saturday I gave a reading at the gallery to many friends, family, and supporters of my writing as I formally launched the book.
Having now made it through the past month of editing and assembling the book, I’d like to share some of my thoughts from the reading as well as a little background on this project. It’s amazing to me that the book is finally complete, and I’m especially grateful to everyone who helped along the way.
At the outset, I’d like to say that I’m indebted to Michael Czarnecki, a poet from upstate New York, for the design of my book. While still in college, I met Czarnecki at a little coffee shop where he read poems from a slim collection entitled Drinking Wine, Chanting Poems. That collection of poems has been treasured by me for many, many years, and ever since purchasing that book, I’ve wanted to create something similar. While in college, other small books of poetry also fascinated me, and I loved flipping through Allen Ginsberg’s Reality Sandwiches as well as Howl and Other Poems. Something about these books that were physically smaller just pleased me, so when I came across Czarnecki’s undersized, self-published book of original poems, I felt encouraged that some day I might produce my own book. And although Czarnecki and I have been Facebook friends for several years now, he probably has no idea how much that collection of poems has meant to me.
I needed the right subject matter, too. And as I summarized at the reading on Saturday, the sense of place has always intrigued me as a writer. I remember reading Annie Proulx’s Heart Songs and The Shipping News for the first time and quickly becoming a fan. Her stories seemed saturated in the details of a particular place. Later, when she began writing books about the Western United States such as Close Range and Bad Dirt, my fascination with the sense of place only increased. Barbara Kingsolver is another writer who also comes to mind. Her book, The Bean Trees, was the first title I added to my curriculum when I began teaching high school. Some of her other books such as The Poisonwood Bible, and especially, Prodigal Summer, have also stayed with me over the years. And certainly, Tim O’Brien’s novels about Vietnam such as The Things They Carried, If I Die in a Combat Zone, and Going After Cacciato continued my fascination with place as a central idea in my reading interests.
My non-fiction reading, too, often centers around place. This past summer I read Vermont River by W.D. Wetherell, which chronicles a year of fly-fishing in the author’s life. Now, I’m halfway through a book about fishing around Martha’s Vineyard called Blues by John Hersey. And of course, I’m reminded of some of my favorite books such as Jon Krakauer’s Into Thin Air and Henry David Thoreau’s Walden. A more recent title on my reading list, however, has been Just Mercy by Bryan Stevenson, which focuses on criminal relief in Alabama and a terrible miscarriage of justice in Harper Lee’s hometown, Monroeville, where the setting only serves to underscore the irony surrounding the wrongful conviction of a black man.
When I began to write short stories in earnest, hoping to send them off to literary magazines for publication, I wanted place to take a front seat in my writing. As I was living in the northern tier of Pennsylvania, I drew inspiration from my surroundings, including the people and places and traditions that made this region unique. For instance, one of my earliest stories dealt with an illiterate landlord renting to students in a small college town similar to Mansfield, Pennsylvania. Later, when I moved away to Columbus, Ohio, to attend graduate school, I continued to write stories focused on rural Pennsylvania with topics about hunting and fishing, the land often serving as an impetus to the conflicts of my characters.
When my wife and I moved back to Pennsylvania, finding jobs in the same county where my wife grew up, we purchased a house in her hometown, Montrose. I was still writing stories about this area, so I was thrilled to be in the thick of my subject matter. I wrote several short stories and flash fiction pieces, had a few published, but eventually found myself writing poetry, where I could more directly address the details of living in Montrose and Susquehanna County. Over time, I wrote a piece here or there, when inspiration struck me, until after a while I realized I had a collection of poems that might be brought together and published.
To discuss the specific poems briefly, I’ll just say that I wanted the collection to bridge the past and present, hoping to pay respect to our history but also include the right amount of details to locate our town in the present. I wrote several poems that address places such as the county courthouse and other notable landmarks, the places that people know with long memories, even if some of the features have continued to evolve. Likewise, I wanted to include people, some whose names are remembered in books about Montrose, like Isaac Post, who is considered a Founding Father of Montrose, as well as others, who remain alive in our more recent memories for what they have brought to our community such as Joe Welden. It’s been my hope, too, that these poems come together in a way that feels a little bit larger than the fourteen poems that comprise the book, and that taken as a whole, the poems communicate more than each poem by itself.
To that end, I fell upon Public Avenue as the title for the collection. I wanted something that could encompass both the theme and setting of the poems, and that title has been significant to me as I imagined these pieces. Indeed, I wanted the poetry I’ve collected in this book to reflect the public face of our town. The title, too, has helped me narrow the poems to include in the collection, for I’ve culled many of the poems from those I’ve written over the past years to make sure that these best embody the title of the book. Since several poems also reference street names, including Public Avenue, that also became just another piece in the puzzle.
It’s been difficult to put into words the excitement I’ve felt as this project has culminated in the past few weeks. The road has been long traveled to reach this point, but as everything came together, I’ve felt such gratitude. So many people—my wife, family, and friends—have supported me along the way. Being able to finally share these poems this past weekend with an audience, some people whom I’ve known for a long time and others that I’ve only met for the first time, has been such a gift.
In recent years, I’ve become ever more frustrated with charting songs for guitar. For a long time, that’s consisted of simply writing lyrics with the chord changes above them. If I’m familiar with the song, I can usually get by with this method, and I have for many, many years. The band I play with also uses song charts, which consist of listing the basic structure of the song and the chord changes. It’s not bad, but in the past few months, I’ve wanted a little more. When learning new songs, I seemed to miss the big picture, the conceptual whole of the song I was trying to play. One solution I’ve found helpful is using chord lines.
What are chord lines, you ask? Well, several months ago when I started using them with greater earnest, I scoured the internet looking for some kind of guide, but to my surprise found nothing. Turning to paper and print, I scanned my book spines and found an undersized book with its black spiral bound pages. Rise Up Singing. Compiled by Peter Blood and Annie Patterson, the book contains lyrics for over 1200 songs. An indispensable classic, in my opinion. It’s the place where I first learned about chord lines.
Chord lines are a method of charting the chords for a song developed by Peter Blood. Rather than writing the chord changes above the lyrics, which is the typical way we often see charted songs or fake sheets, a song charted using chord lines isolates the chord progression for a verse or chorus, recording the basic pattern of chords and beats for one line of lyrics. The break for a new grouping of chords, as well as another line of lyrics, is marked by a slash. For repetitions of chords, the method uses dashes, and if a whole measure of chords is to be repeated, there will be an empty space between a pair of slashes. Using this method requires much less space when charting a song, and the simple markings and grouping of chords communicate the basic structure of song in a way that can be quickly understood by the musician.
I like the method because I struggle with rhythm sometimes. It’s nice, therefore, to have the chords and beat of the song illustrated in a way that’s easy to understand. That helps me get a feel for the song much faster, and more importantly, conceptualize the overall structure of the song. When I’m charting songs for myself, I often use this method because it helps me account for the correct number of beats in each measure or line of lyrics. Granted, it looks a bit strange at first, but once I became familiar with it, I felt quite at ease using the method.
The genius of the method is that of saving space. Whereas traditional songbooks might become quite large with only a few dozen songs, the 1200 songs in the Rise Up Singing take up far fewer pages. In fact, there are usually about four songs on each page of the book. To me, that’s incredible, and as a guitarist, it’s convenient to have such a great number of songs collected in such a small book.
It really bothered me, however, that I couldn’t find anything more about the origin of notating songs in this method, especially something I think so useful. So back to the internet, and instead of coming away disappointed, I found contact information for the authors, Peter Blood and Annie Patterson. After a couple emails, I had some answers.
According to Peter Blood, he invented the method of chord lines. Although he had been working on a version of the system for several years, he dates the method back to Winds of the People, his songbook self-published in 1979 and the predecessor to Rise Up Singing. Blood writes, “I think I had used a modified version in earlier song sheets that had been mimeographed for groups I was part of, but I don’t think I used the consistent system of relating the chords to the downbeats of the rhythm until we created Winds of the People.” Over the years, he says many people have expressed appreciation for the system while others seem a bit mystified by the groups of chords, dashes, and lines that accompany the lyrics.
Despite those who might be a little lost, Peter Blood cites some of the same reasons I did for using the method. He told me the system seemed the best possible way to show where the chords fall without writing the chords above the lyrics, and ultimately, that saves space. He also finds playing and reading chords from these sheets easier. “It pops out more,” he says, when comparing his charts to the traditional method of notating the chords. I agree, too, that the method seems to declutter the page, stripping away the extraneous to create cleaner, simple song sheets.
For me, as well as many others, simplicity makes a world a difference. The irony is that Blood’s chord lines are a simplification that communicates more than the traditional method of charting songs. To make a comparison, his method acts like a snapshot of the song’s deep structure, and as we have so often heard, a picture is worth a thousand words.
I think I’ve always been a list maker. My wife often discovers scraps of paper with some of my lists. I make them in notebooks and on yellow legal pads, too. I’ve tried writing them on my phone using the notepad app, but there’s something sterile about it. It’s just not as satisfying as pencil and paper.
A few weeks ago, as I began my 17th year as an English teacher at a small rural school in northeastern Pennsylvania, I asked my students to make some lists of their favorite books. I thought this would be a great way for me to get to know my students, and for the past few years, the first assignment for my freshman English classes has been to write a short essay about one of their favorite books. This has served me well, and I’d like to think it’s been good for my students, encouraging them to reflect on themselves as readers and put into words what motivates them to read. And that relates to the biggest challenge of the assignment, which is that they need to avoid plot summary as the content of the essay; instead, they must articulate the reasons this book is their favorite.
This sounds easier said than done. Oh, you want me to write about my favorite book? Sure, let me tell you what it’s about. No, no. Tell me why it’s your favorite. What do you like about the book? Well, the story is about… No, no. Give me three reasons you like the book. Oh, well, because, I don’t know. It’s good. Yeah. But why? Well, because, it’s a good story.
And that’s the way it goes, despite my every effort to be clear in my directions, and, as usual, provide several models for their writing. Inevitably, a student will ask me for feedback, claiming the essay is almost done, and I’ll have to say, but you didn’t tell me the reasons it’s your favorite. You still have a lot of writing to complete. And sometimes the essay never gets much further. Indeed, I’ve discovered the assignment requires more mental effort than I expected when first adding the essay to my curriculum.
It’s difficult, for many students, to even name a favorite book. That’s my problem, as well, sometimes. My favorite books are always changing. Certainly, there are few that remain in the top ten, but as I continue reading more and more, my favorites shuffle and slide about. In addition, I’m almost loyal to certain books to a fault. I have this same problem when naming favorite albums, because I have my list of favorite albums from my teenage years, but now that I’m older, I’ve listened to so much more. I can list favorite albums from the past ten years or even the past year. A definitive list, however, seems impossible. How could I make any list of favorites without including The Dark Side of the Moon or Nevermind?
The trick for me, I guess, is to narrow the focus in some way. My friend, Jon, does this often. He’ll post lists of his favorite albums each year on Facebook, sometimes dividing the year into two or three parts. I’m always intrigued by his lists, and following his lead, I look forward to December and thinking back on all the new music that was released during the past year. And then I share my list of favorites. Sometimes, my picks even earn a Grammy, as Kacey Musgrave’s album, Golden Hour, did for 2018.
Books are a little harder, of course, but as my students wrote about their favorite books, I decided to make a list of my ten favorite books for teenage boys, a group I often find myself worried about keeping motivated to read over the course of the year. Obviously, I was once a teenage boy, and I remember reading Choose Your Own Adventure and Lone Wolf books before getting to high school and discovering classic authors like J. D. Salinger and F. Scott Fitzgerald. In the past thirty years, however, the market for teen and young adult literature has exploded. There are so many books, so many choices for teenagers. Some of my choices fall into this category while others are simply books I think teenage boys would enjoy. And naturally, now that I have a teenage son, these are books that I’d like him to read at some point in the next few years.
Top Ten Books for Teenage Boys
The Catcher in the Rye by J. D. Salinger
Hatchet by Gary Paulsen
The Absolutely True Diary of a Part-Time Indian by Sherman Alexie
Fallen Angels by Walter Dean Myers
King of the Mild Frontier by Chris Crutcher
Fat Kid Rules the World by K.L. Going
Twisted by Laurie Halse Anderson
The Things They Carried by Tim O’Brien
Looking for Alaska by John Green
Into the Wild by Jon Krakauer
Now I could annotate each of the books on the list, but that seems too tedious. However, I will say that there’s only one book that I read as a teenager on this list, which is The Catcher in the Rye, the classic coming of age novel. I think that’s something interesting to note, because I expected to have a few more books that have been with me a long time. It’s actually the oldest book on the list, and I still teach this novel to my high school juniors. I also teach The Things They Carried, and I’ve written previously about this novel as well as the important lessons this novel about the Vietnam War offers for teenagers. Fallen Angels is also about Vietnam, and I hesitated to put two novels dealing with the same topic on the list, but Walter Dean Myers is such a good author for teen boys.
In fact, most of the authors on my list are well-known, and I imagine many people will recognize their names. Chris Crutcher, though, might be less familiar. I highly recommend his novels, many of which center around sports, especially high school swimming, which was Crutcher’s sport as a teenager. I remember first discovering Crutcher while in graduate school. My wife, who is also an English teacher, had a colleague introduce her to books like Whale Talk, Stotan, and Staying Fat for Sarah Byrnes—all great novels for teenage boys. She even met Crutcher at a middle school book symposium. My favorite book by Crutcher, however, has always remained King of the Mild Frontier, which is an autobiography about Crutcher’s childhood and teenage years. It’s very funny, and I’ve often recommended the book to reluctant readers.
The other nonfiction choice on my list is Jon Krakauer’s Into the Wild. Here again, I feel obligated to put one of my favorite Krakauer books on the list. He’s such a good writer, I could list almost all of his books here, but for teenage boys, Into the Wild rises to the top. As I think about it, I’m reminded of Hatchet, since both books are about surviving on your own; however, Krakauer’s book about Chris McCandless is a true account, which sets it apart. He’s such a compelling writer, and I’ve always loved the way Krakauer weaves his own personal experience into this story about modern adventure and authentic experience. I’ve always wanted to teach the book to my older students, especially with all its references to many of my favorite authors like Jack London, and of course, Henry David Thoreau. Indeed, I thought I could write a post without mentioning old Thoreau, but he always finds a way, the little bugger.
On second thought, nevertheless, that Thoreau might show up in some form isn’t really that surprising. To make any list of favorites, our choices most likely contain something of us, too. Maybe it’s when the writer captures something about the reader, maybe something that the reader doesn’t even recognize before reading the book, that a book gains some extra significance. For me, Jon Krakauer is one of those writers, and making a list of favorite books allows me to understand myself a little more. It’s also one of the reasons I’ve enjoyed assigning this essay to my new students over the past few years. And every year, the best essays, by far, are the ones that reveal the personality of my students more than the contents of the book. Whether they consciously realize it, when they write about their favorite books, they are really writing about themselves.
Gardening is a strange pleasure. In Walden, Henry David Thoreau describes his experience in the bean field as a “small Herculean labor” and a long battle, the Trojans taking the form of worms, weeds, and woodchucks. For a weapon, he recounts leveling his enemy with his long-handled hoe, turning dirt and dust over the weeds that fought for water and sun with his rows and rows of beans. When reading Thoreau’s story of his bean-field, which I’ve done several times in the past few weeks, it’s almost always this image of Thoreau, fighting against worms, weeds, and woodchucks, that stands out to me. It may have been a battle, but clearly, he enjoyed this “curious labor,” as he describes being out there all summer in the early morning dew, barefoot in the field, until noon, and sometimes, staying there all day to see the evening birds overhead. There’s a certain magnetism in the earth, he says at one point, and I tend to agree.
Like Thoreau, I have my bean field that I’ve planted behind my barn year after year. At times, it seems to be more trouble than worth. The hidden calculus at the back of my mind tells me I must be losing on time and money. Surely, I’d be better off just making a trip to the grocery store, where I’ll ultimately end up buying my lettuce because my stalks in the garden have gone to flower. And yet I continue my little gardening enterprise year after year, knowing, like Thoreau, that there’s something more to be harvested than beans.
Over the life of my garden plot, I’ve tried many things to satisfy that strange pleasure of gardening—far too many to list here. And usually, I take several pictures over the course of the summer, a kind of photographic journal. There’s a picture, for instance, of the garden’s infancy, our first summer at the house, when the farmer up the road brought his tractor down to break ground for us, creating a rather large plot of land. My work even included a scare crow, but the garden proved unmanageable. In another photo several summers later, the garden includes a discarded snow fence I used to keep out the deer that tarry our plants—no woodchucks that nibble our leaves like Thoreau, but rather deer that feast upon them, leaving nothing but bare branches and curses in their wake. Indeed, I’ve never liked the idea of using that green garden fencing, which reminds me of working in a cage, but I found the red vertical slats that comprise snow fencing to be a rather pleasing aesthetic. Then there’s pictures of raised beds some years, large mounds in others. It’s always changing.
This year was no different, as I enlarged the garden dimensions and rearranged to make room for raised beds, which I had done away with only a couple years ago after seeing a friend’s garden. Maybe I’m fickle. This time around I drew inspiration from some pictures from an article in This Old House Magazine, an issue that I’d tucked away for safekeeping because, well, one day I wanted to build a garden like the one featured in that issue, or at least, to build something similar. No, I couldn’t do it exactly the same. So that was my project at the beginning of the summer, using two-by-fours for the beds instead of scrap hardwood flooring, using red as my color palette instead of green, and using brown mulch instead of pea gravel for the paths. And like most of my projects, it’s about 80% finished at this point, but the plants are in the ground and growing. Tomatoes, basil, lettuce, peppers—lots and lots of them in several varieties—potatoes, squash, broccoli, cabbage, brussel sprouts, and cilantro. My tastes are a little more diverse than Thoreau, but my son did throw some beans in a patch of dirt as almost an afterthought, and ironically, it was the only thing that didn’t come up, the seeds having been leftovers from previous years.
The garden is better than last summer, for sure, but there’s always something that could be better. Thoreau gets this, too, for about halfway through his chapter about his beans, he discusses the desire to change things next time, opining that we all too often do the same thing year after year in both our gardens as well as our principles and actions. For Thoreau, change is good, and to me, that’s also one of the strange pleasures of working the soil. Gardening is about returning to the same place day after day, always looking for little ways to improve, to do things differently. I have plants on my property, for instance, that I have moved a half dozen times, hoping to find the best location. Another small flower garden went through a huge transformation a few years ago, as I hauled away a stone border, installed a decorative fence, and carefully placed a few very large rocks. Of course, there were some new plants, too. I’m happier with this garden, too, but I’m always tinkering with improvements.
That’s the difference between gardening and farming. According to Thoreau, the farmer is concerned with the product whereas the gardener is concerned with the process. The gardener realizes there’s more to be gained from working the soil than the harvest and the feast, which brings us back to Thoreau spending so much time hoeing his rows of beans. There are times he relates just standing there, listening to sounds in the distance or watching the nighthawk in the sky above. People stopped by, seeing him there with his beans, to offer advice for a better harvest in the fall, but Thoreau wasn’t farming. In fact, he describes farmers as robbing nature. No, instead, he was gardening. It should be noted, however, that Thoreau preferred the term husbandry when describing his own activities, a term which today seems almost obsolete. For Thoreau, husbandry was a “sacred art,” an activity that connected us to the earth more as stewards rather than owners, cultivating rather than reaping. The word also denotes a kind of management or conservation of resources, too, that anticipates, perhaps, that nature is not an infinite bounty, but something that could slip into a wasteland. Indeed, the land around Walden Pond in the 1840s was not as we see it today, but more desolate, much of it having been timbered and stripped to the ground. The beans were planted, in part, because other crops wouldn’t grow in such poor soil. It’s no wonder then that Thoreau might see himself as husbandman rather than a farmer. And unlike the farmer, the husbandman carries less anxiety, worrying much less about whether he should lose the rewards of his labor. Instead, the labor is the reward, and again, the strange pleasure.
As for me, I’m all right with words like garden, gardening, and gardener. Much better than worms, woodchucks, and weeds, for sure. But it’s that idea of change, I think, that becomes the key to understanding the difference between the gardener and the farmer. For me, gardens are experiments, little places where change is welcome, even encouraged, as the necessary ingredient to the process. It’s a place where possibility dwells, a place where the imagined comes to life. The words maybe next time and what if grow alongside the cabbage and broccoli. That’s what I like about it, and perhaps, that’s what Thoreau loved about it. This past week, on a trip to Creekside Gardens in Tunkhannock, Pennsylvania, that fact was highlighted for me. As my wife and I admired the plants, we struck up a conversation with one of the owners, discussing a miniature garden decorated with fairy houses and little sprites going about their gossamer business. And even as we admired the beautiful little garden, she told us what needed to be changed. “That’s what we’re always doing with our gardens,” she said. I think Thoreau would agree. The pleasure is in the process.
Over the past few months, I’ve delved deeper into the history of Montrose, Pennsylvania, than ever before. I’ve always been interested in writing about places, and for a long time, this small town where I live has provided plenty of inspiration. One of my writing projects has been a collection of poems about Montrose that I’ve finally decided to publish, and of course, that’s when doubt really starts to creep into my thoughts. Here I am, writing about my adopted hometown, but what did I really know? I had the overwhelming feeling that I was only skimming along the surface. I’d written about a few notable people and specific places, even a poem about our Fourth of July celebration, but I needed more details, more history. So now, several months later, having scrutinized old maps, read old newspapers, and seen hundreds of old photographs, I’m rediscovering the place I’ve called home for the past fifteen years.
Published in 1873, Emily Blackman’s History of Susquehanna County, Pennsylvania contains a wealth of information, including much about the founding of Montrose. She’s considered to be the area’s first historian, so naturally, I’ve been reading her book, scanning the index and picking relevant topics. One story that stands out, especially at the beginning of this month, recalls the first Fourth of July celebration, only a short year after Captain Bartlet Hinds built a small log cabin that became the town’s first settlement in 1800.
Just like our modern fireworks, these early settlers wanted something grandiose, something with a great boom. If we take Blackman at her words, Captain Hinds must have been a clever woodsman, besides a soldier. Hoping to recreate the fusillade of cannon fire, Hinds felled thirteen trees in quick succession, choosing trees and notching them in such a way to fall like dominoes. Has anyone ever heard of such a feat? The noise must have been marvelous, as each tree crashed into the next and into the next on down the line. As the boom resounded in the woods, and the last tree fell to the ground, I can only imagine the few settlers gathered about clapping and cheering such a spectacular show.
Somewhere off in the woods nearby at least one other person heard the flurry of the captain’s wooden cannons. Reportedly, Jason Torrey, while out surveying land, followed the great boom to its source and soon discovered the little party in the midst of their merry making. They gave him food and drink, and according to Blackman, Captain Hinds offered up a toast on the nation’s birthday, saying, “The United States! May their fertile soil yield olive for peace, laurel for victory, and hemp for treason!”
Although we can’t give credit to Hinds for composing these words, as this was a familiar toast at the time, his fighting spirit is certainly embodied in them. Hinds was a soldier, after all, having fought for liberty or death against the British. In fact, Thomas Jefferson, who wrote The Declaration of Independence, was the newly inaugurated President of the United States in 1801, and George Washington had only died a couple years earlier.
So goes the first of many celebrations in The Hinds Settlement, later renamed Montrose, Pennsylvania. While researching the details of this event, I did come across at least one person who asked, Why thirteen trees? Indeed, I don’t want to take anything for granted, so let us remember the thirteen stripes on our flag represent the original thirteen colonies who banded together to fight for independence. By the day Hinds brought thirteen trees crashing to the ground, the number of states in the union had grown to sixteen, but thirteen had already become sacred. So strange, that today, we associate the number with bad luck and trouble. It seems to me, however, that Captain Hinds most certainly had those original colonies in mind when planning his “fireworks” for the Fourth of July.
It’s interesting to note, too, that one of the mottos of our new nation, e pluribus unum—a Latin phrase meaning “out of many, one”—was even comprised of thirteen letters. As an English teacher and student of language, I’ve always found this detail about the motto fascinating, but the phrase becomes even more poignant as I think about the beginnings of Montrose taking shape. When the Hinds family and Jason Torrey came together, they were parts that joined as one to create something greater, much like our country, much like our small town, much like our annual celebration, and much like those thirteen trees, so many years ago, crashing together into one great echoing sound heard deep in the woods.
All of this makes me reflect on things that bring us closer, that pull us together rather than apart. The Fourth of July in our town, unlike many of our other holidays, is unique in that respect. Whether we gather along the parade route, visit the vendors on The Green, or sit together to watch the fireworks at the end of the day, we celebrate together. My parents, for instance, will travel two hours to be here. Many others are coming from much farther to visit close friends and family, often using this event to return to their roots. It’s estimated that our town swells to nearly 20,000 people on this one day of the year. Although they will not hear the thunderous roar of those thirteen trees described by Emily Blackman in her book, it’s clear that our tradition of bringing people together, especially in Montrose, is still strong.