Showing posts with label birds. Show all posts
Showing posts with label birds. Show all posts

'the continued buzz of wings had a tendency to lull my senses to repose'










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Frithjof Tidemand-Johannessen, "Birds in a landscape." Via le jardin robo.

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Maynard F. Reece: Plate XI, "Forney Lake." An illustration from Waterfowl in Iowa by Jack W. Musgrove, 1940. Via le jardin robo.

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Detail of a 22-page birchbark letter, ca. 1908, from Vermont, ca. 1908. Via Haec City.

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From a conversation between leaves in Bambi: A Life in the Woods, by Felix Salten, 1923.

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Communists and socialists demonstrating against the far right in Paris, February 12, 1934. Via The London Review of Books.

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"Shonagon had a passion for lists: the list of 'elegant things,' 'distressing things,' or even of 'things not worth doing.' One day she got the idea of drawing up a list of 'things that quicken the heart.'"

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In the autumn of 1813, I left my house at Henderson, on the banks of the Ohio, on my way to Louisville. In passing over the Barrens a few miles beyond Hardensburgh, I observed the Pigeons flying from north-east to south-west, in greater numbers than I thought I had ever seen them before, and feeling an inclination to count the flocks that might pass within the reach of my eye in one hour, I dismounted, seated myself on an eminence, and began to mark with my pencil, making a dot for every flock that passed. In a short time finding the task which I had undertaken impracticable, as the birds poured in in countless multitudes, I rose, and counting the dots then put down, found that 163 had been made in twenty-one minutes. I travelled on, and still met more the farther I proceeded. The air was literally filled with Pigeons; the light of noon-day was obscured as by an eclipse, the dung fell in spots, not unlike melting flakes of snow; and the continued buzz of wings had a tendency to lull my senses to repose.

Whilst waiting for dinner at YOUNG'S inn at the confluence of Salt river with the Ohio, I saw, at my leisure, immense legions still going by, with a front reaching far beyond the Ohio on the west, and the beech-wood forests directly on the east of me. Not a single bird alighted; for not a nut or acorn was that year to be seen in the neighbourhood. They consequently flew so high, that different trials to reach them with a capital rifle proved ineffectual; nor did the reports disturb them in the least. I cannot describe to you the extreme beauty of their aerial evolutions, when a Hawk chanced to press upon the rear of a flock. At once, like a torrent, and with a noise like thunder, they rushed into a compact mass, pressing upon each other towards the centre. In these almost solid masses, they darted forward in undulating and angular lines, descended and swept close over the earth with inconceivable velocity, mounted perpendicularly so as to resemble a vast column, and, when high, were seen wheeling and twisting within their continued lines, which then resembled the coils of a gigantic serpent.

John James Audubon, from "Plate 62: The Passenger Pigeon" in Birds of America

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Every afternoon [the pigeons] came sweeping across the lawn, positively in clouds, and with a swiftness and softness of winged motion, more beautiful than anything of the kind I ever knew. Had I been a musician, such as Mendelssohn, I felt that I could have improvised a music quite peculiar, from the sound they made, which should have indicated all the beauty over which their wings bore them.

Margaret Fuller of Oregon, Illinois, writing in 1843. Quoted at the Friends of the Nachusa Grasslands blog.

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BETWEEN the years 1872 and 1875 or 1876, eastern Iowa, for a distance of sixty or more miles west of the Mississippi River, witnessed many intermittent flights of the fast dwindling flocks of the Passenger Pigeon. At that time I was not familiar with the stories of the pigeon flights over Ohio and Kentucky territory east of the Mississippi, related by Wilson and Audubon, or, probably, I should have been impressed with the difference between flights occurring prior to 1845 and those between 1870 and 1880. It will be recalled that Wilson and Audubon described the pigeon flocks as being so vast in extent that they darkened the sky for several successive days. As I read their descriptions, the pigeons literally spread a dark blanket of roaring wings over the earth, interfering with the light from the sun to the extent that a twilight condition prevailed not only all day but for several days in succession.

The rapid destruction of the pigeons between the dates mentioned should, one would think, have warned thoughtful students of wild life of the complete destruction of this edible species at an early date, but if fears existed the publications of the period do not appear to have been utilized for the purpose of arousing public interest and concern therein. So to us in the 70's the flights of pigeons seemed tremendous and were wholly without a warning thought or suggestion that the hundreds of thousands, or possibly millions, we saw passing over were but the fast disappearing remnants of the billions that turned day into night much less than fifty years before.

Frank Bond, "The Later Flights of the Passenger Pigeon," The Auk, Vol. 38, no. 4, October 1921.

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Then he would go out for a walk, wander through the countryside while reciting Sacred scripture to the crows in the fields, the dark murmurations of starlings against the clouds, and as he wandered through the orchards near the river he would think of the miracle of flowing water from the book of Ezekiel: And it shall come to pass, that every living thing that liveth, which moveth, whithersoever the rivers shall come, shall live: and there shall be very great multitude of fish, because these waters shall come thither; for they shall be healed; and every thing shall live whither the river cometh ... And by the river upon the bank thereof, on this side and on that side, shall grow all trees for meat, whose leaf shall not fade, neither shall the fruit thereof be consumed: it shall bring forth new fruit according to his months, because their waters they issued out of the sanctuary: and the fruit thereof shall be for meat, and the leaf thereof for medicine, a passage he had read so often in church, and he would pick a few familiar leaves to make a tisane, then, at length, having made a tour of the village, wondering how all things could so sweetly sing the praises of the Creator and yet also be the mark of His abandonment, he would head back to the presbytery, there to surrender to the gathering night, to dereliction and to hooch.


Mathias Énard, from The Annual Banquet of the Gravediggers' Guild, translated by Frank Wynne. 

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To find a stronger word for love, a word that would be like the wind, but come from beneath the earth, a word that doesn't need mountains, but dwells in immense caves from whence it travels through the valleys and the plains like water that is not water, like fire that doesn't burn, but shines through and through, like a crystal, which doesn't cut and is instead transparent, pure form, a word like the voices of animals, as if they understand one another, a word like the dead, but all alive again.

Elias Canetti, from The Book Against Death, translated by Peter Filkins.

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circling the sun / birthday gifts some 46-year-olds might enjoy



























Iitala Taiko Sato dinnerplates, designed by Klaus Haapaniemi and Heikki Orvola.

A table-top reflecting pool: Debbie Carlos pond vase.


Adalbert Stifter, The Solar Eclipse of July 8th, 1842, handset and printed by Brother in Elysium.

Mints infused with blessed water. (I will take all the blessings I can find.)

A recording of Charles Ives' "Universe Symphony," "Orchestral Set 2.," and "The Unanswered Question."


A wearable, seasonless garden by Kathryn Bentley.

A handful of swallow patches, to give something a little worn new life.

Asparagus candles. (The hazelnut cake with concord grape jam buttercream and filling that I spent the last two days making was a total bust BUT I am still gonna blow out some candles tonight!)

Bumper sticker by Nate Hooper for Working Loose, because to live is to spiral.

festive things


























Gislebertus, "Dream of the Magi," circa 1120-30 , Cathedral of Saint-Lazare,  Autun, France. Via Stephen Ellcock.

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Mary Delany, "Ilex Aquifolium (Tetandria tetragynia)," from an album (Vol.V, 60); Holly with berries. 1775. Collage of colored papers, with bodycolor and watercolor, on black ink background. The British Museum.

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Olivier Dassault, "Untitled/Christmas card," 1987. MFA Boston.

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Tacuinum Sanitatis, Milan or Pavia, ca. 1390-1400. Via The Fortnight Institute.

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Schreiber pop-up toy theater book, ca.1885. The V & A.

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Holiday dress of my dreams: Rothermal Theater Dress by Bode.

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Star Finial, artist unidentified, United States, 1875–1925, paint and gilding on metal, 45 × 22 × 9 in. American Folk Art Museum.

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... [W]e are seeing our own mortality in the close of day and year. The hours of sunlight run by more quickly, and we’re left behind in the darkness. It’s hard now to feel the privation of former winters, or experience the desolation of the landscape; it’s not even likely to snow. But we see the trees unleafing, and sense the different strains of winter light: sometimes bright and cold, often thin and misted. Much of our enjoyment of this gauntness is in relief. Fasting for advent used to make a penitence of nature’s dearth, relieved at last by ecstatic abundance. On Christmas Eve congregations would hang the branches of the churchyard trees with apples. In Moscow, they deck avenues of leafless boughs with red and gold baubles, which has the same effect.

Our contrivance of these spots of colour has its roots in nature’s contingencies: red berries on a black branch, an evergreen tree in a field of snow—Ruskin’s lesser beauties perhaps. But it takes a mind to frame them, to put the tree in a painting or a living room. Sometimes novelty itself seems poetic, as though the product of design. ... We aestheticise the tree by changing its setting, or we admire it through a picture. Christmas itself is a removal, separated from the rest of the year by its spangles and pageantry. The season makes us tourists of our own nostalgia; it’s best not to think too hard about the absurdity of chopping down a tree and covering it with tiny ornaments. What do we do with the wanwood when the new year comes? In the 16th century, after the feast and the dancing, the tree would be ceremonially burned, marking the end of festivities with a final brilliant spectacle, which does seem better than leaving it on the street for the council to collect.

Alicia Sprawls, "Christmas Trees." London Review of Books,  1/5/2017.

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In 1419, the Freiburg bakers’ apprentices noted having seen a tree set up in a hospital, decorated with apples, wafers, gingerbread, and tinsel. In Riga, in 1510, a brotherhood of merchants are said to have set up a tree around Christmastime, then decorated it with thread and straw; they burned it at Lent. Many of the hints of early Christmas-tree—or solstice-tree, or New Year’s tree—traditions come from rules limiting them. A regulation in Upper Alsace specified that each citizen could take from the forest no more than one pine, of a height no more than eight shoes. A 1611 ban against felling trees in the Alsatian town of Turckheim is arguably the first appearance of the term “Christmas tree”: Weihnachtsbaum.

Rivka Galchen, "The Science of Christmas Trees." The New Yorker, 12/6/2022. 

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One thing is for certain—I wouldn’t want to be a Christmas tree. It would be nice to be the center of attention, to be so decorated and lit that people stared at you in wonder, and made a fuss over you, and were mesmerized. That would be nice. But then you’d start dropping your needles and people would become bored with you and say you weren’t looking so good, and then they’d take all your jewelry off, and haul you off to the curb where you would be picked up and crushed and eventually burned. That’s the terrible part. Maybe that’s why so many people today have fake trees. They are quite popular. Their limbs come apart and you can put them in boxes and store them. You can have one of these trees until you die and you can pass them on to your children. They may not be real but when you look at them you can’t tell the difference. That always makes people happy—not being able to tell the difference. And happiness, to want to be happy, is the most natural thing of all.

Mary Ruefle,  "Recollections of My Christmas Tree.Harpers, December 20, 2013. 

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See also: Robert Frost, "Christmas Trees."

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Merry everything, friends.


beastly gifts






































A set of three Gustavsberg ceramic owls, to wink knowingly.

A Couperier Coursolle rabbit pocket-knife.

Jim Nollman's experiments in interspecies communication, featuring "300 turkeys, 12 wolves, [and] 20 orca whales."

A deck of cards adorned with a menagerie of extinct animals.

A stainless steel fish flask, for drinks to go.

House of Hackney's tigerish loveseat (or, somewhat less grandly but still extravagantly, a tasseled tiger pillow).

A swan pencil-sharpener, for serene sharpening.

Winona Irene's black kitty, to claw back stray tresses, and Catnip, a magazine for cat lovers edited by a person allergic to them (me!).

Brass snail knobs, for gastropodic gleam.

Socks with squirrels, in every size.

The Golden Mole, a "lavishly illustrated collection of the lives of some of the Earth's most astounding animals" by Katherine Rundell. (I'll read anything she writes—an amazing writer.)

One of Alexis Stiteler's creaturely hand-drawn sweatshirts (next drop Sunday, December 10 at 4:00 pm ET.)

A vintage cast-iron monkey hook, for hanging around.

Mosaic scarab ring, because beetles are gem-like beauties.

Natalie Lete's fish belt bag, made to swallow phones and keys.

British Colour Standard's wolf's head candle, for light with bite. 

Cactus Shop's license-plate tribute to slime mold, because being a mammal isn't everything.

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One more indulgence: These funny gift guides are an annual delight to compile for all of you anonymous folks out there. I don't make any money from them—no affiliate links, no placements, nada! I'm an online renegade!—but if they have brought you joy or amusement, please consider making a donation to Doctors Without Borders. I'm donating what I can, too, and holding the people of Palestine, Ukraine, and Sudan in my heart. Thank you.

odds and ends / 5.27.2022












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Henri Biva (1848-1929), Villeneuve-l'Étang embrumé. Oil on canvas.

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Félix Bracquemond, Margot la Critique, 1854. Per The Met:
Here Bracquemond rendered a veiled criticism of critics. The squawking magpie holds a plume and straddles a globe ... Bracquemond underscored his commentary with a reference to Ovid’s description of magpies in "Metamorphoses", citing in the lower margin: "Raucaque garrulitas studium que immane loquendi," which translates to "their hoarse garrulity, their boundless passion for talk."

Skull of a crowned athlete, ca. 300 BCE. Archaeological Museum of Agios Nikolaos, Crete. Per The Greek Reporter: "Inside the mouth, a silver coin was found as a token to Charon, who in Greek mythology was the ferryman of Hades who carried the souls of the newly deceased to the underworld."

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Poem by Florine Stettheimer, in the collection of the Beinecke Library.

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Nik Gelormino's prototype for a anti-extraction beehive for Cactus Store.

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As usual, what “we” could be presumed? Numbers spiked and dropped; outrage and numbness set in. Imaginations stopped trying or got massively creative. Many of us burst into demands for an economic and procedural reboot of safety, security, and community, which included defacing the image of the police as the ideal local military. Meanwhile, mental health crises that faced life as well as death expanded into a pandemic with their own structural bases, their own hotlines, their own everydayness, and their own appearance as intimate partner violence and as police actions, where qualified immunity protects them from the consequences of spraying out their own roiling emotions onto other vulnerable bodies. Like dust bouncing off a trampoline, active counter-dominant solidarity on multiple and conflicting fronts induced pervasive and desired atmospheres, with their uneven rhythms of efficacy. The inconvenience of other people became a pragmatic political topic: With whom can you imagine sharing the world’s sidewalk? What do you do with the figures of threat and dread that your own mind carries around?


Lauren Berlant, from the introduction to The Inconvenience of Other People.

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About the hermits’ lives, little is known. They appear rarely, and only then to those with the eyes of faith, yet their presence in these forests is undisputed. They might accept an offering of dried chickpeas or a handful of roasted barley left in a clearing, but mostly they subsist on leaves, bitter roots, and prayer. They wear shabby clothes, unkempt beards, dreadlocks. Only the holiest of them achieve a state of invisibility. When someone manages to see them and attempts to take their picture, it is said, their image will not appear in the photograph. A hermit might live in a particular forest for years, going about his hidden work of intercession, and then one day someone walks by a juniper tree and discovers a pile of his bones.


Fred Bahnsen, "The Church Forests of Ethiopia: A Mystical Geography." Emergence, 1/11/2020. 

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For her, fixity and separateness are deadening specters. The very act of naming arrests and asphyxiates true freedom: as she warns, “don’t identify yourself with your description of yourself.” Dualisms which others might see as contradictions or mutual exclusivities—self/other, individual/collective, moral/theological, earthly/cosmic, work/art—manifest for Howe as uncannily interpenetrative possibilities. She is one of the twentieth century’s great epistemologists, principally through her refusal of discursive tidiness and her magnification of such concerns through indeterminate lenses. Thomas Aquinas thought it a grave failure to confuse knowing and believing. Howe’s is a corpus entrenched in unknowingness.

Jamie Hood, "The Irreconcilable Fanny Howe." The Baffler, 5/16/2022.

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Reading about a young girl wandering through shipwrecks and dodging American soldiers in The Prowler, I thought of a professional wrestler adjusting their story to allow more truth into the performance. That sounds off, frankly, considering how restrained and briny [Kristjana] Gunnars’s writing is. But what feels similar is that alternation between calling attention to the scaffolding, and then leaping from it. The leap is always real, even if the wins and losses are imaginary.


Sasha Frere-Jones, "The Scent of Light." 4Columns, 5/20/2022. 

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"I found myself wondering if there’s a difference, anyway, between the things we read and the things we do. Reading is an experience, if an artificial one, constructed and simulated—but then so are many of the others we go out in life to achieve in vaguely artificial ways."

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Very early on in my “career,” an editor said to me, “You do something that we don’t really do here. I noticed that in your sentences, the word that comes next isn’t exactly the word you’d expect to come next.” And I remember thinking: of course it fucking isn’t. Otherwise why would I write it?

Tobi Haslett, interviewed by Jessica SwobodaThe Point, 5/17/2022.

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Let’s hope that—at least—we can be in touch through words. I 
remember many beautiful moments in your study, with leafless trees 
outside 
or spring trees.

Adam Zagajewski, writing to Jonathan E. Hirschfeld, quoted in "Without Irony," Hirschfeld's tribute to Zagajewski in PN Review 263, Volume 48, Number 3, January/February 2022.

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I watched the trees gradually recede, waving their despairing arms, seeming to say to me: ‘What you fail to learn from us today, you will never know. If you allow us to drop back into the hollow of this road from which we sought to raise ourselves up to you, a whole part of yourself which we were bringing to you will vanish for ever into thin air.’ And indeed if, in the course of time, I did discover the kind of pleasure and disquiet which I had just felt once again, and if one evening—too late, but then for all time—I fastened myself to it, of those trees themselves I was never to know what they had been trying to give me nor where else I had seen them. 

Marcel Proust, In Search of Lost Time, Volume 2: Within a Budding Grove, trans. by C. K. Scott Moncrieff and Terence Kilmartin.

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No guns for men.