Camas Fields Forever

For two weeks in a row, I've been blessed with fieldwork in a sublime Cascadian meadow. This last time, I encountered other western Washington folks who'd made the trip top see the legendary camas bloom--the place is so famed for this blue lily that it's common name is Camasland. Last week was the time to see the bloom at its peak, when the flowers are so thick that swaths of meadows turn blue; I offer these photos (which are pathetic  stand-ins for the real scene) to those who missed the day. Explorer accounts back to Lewis and Clark speak of camas meadows that appeared to be lakes, although to my own eye (connected to a mind that demands less sense) the biggest areas of camas looked like pools of sky, complete with fluffy white clouds of American Bistort.

Camas is just the best known of many plants in this meadow that are important to native people. This meadow is a treasure to the Wenatchi and other tribes that came here generation after generation, congregating in large numbers to harvest the roots, socialize, and later light the fires that kept the meadow from reverting to forest.  The soil is black from thousands of fires, dark rich testament to centuries and millenia of tending to this special island of meadow in the Cacadian treed terrain.

While the blue may look more like sky than water to me, the camas lily appreciates lower, wetter ground, which means that sometimes it lives in the silt of relict channels and silted in streams. Camasland is a flat meadow within a bowl of forested hills, and the stream that winds through it has meandered here and there over the years. The photo above shows the faint blue of camas in one of those old channels, with the yellow flowers and larger foliage of balsamroot on the banks. Difference in elevation between these zones is only a few inches, but that's enough to nurture quite different vegetation on each. The meandering blue is an echo of a stream, a channel living forever.

This landscape is special to modern people as well. Years ago, the state decided to conserve the ecosystem here, and set aside most of it. There are rare species involved, but the place is special also because of the abundance and cultural importance of some of the more common species present. Preserving this place forever means that the ancient yet fleeting beauty of a wildflower meadow will not become a housing subdivision (the fate of most prairies west of the mountains) or some other modern development that will be fleeting compared to the natural and cultural history of Camasland, but which could do irreversible damage.

Watercolor Spring

Excuse me, while I brush the sky

Seasons echo themselves. Not just from one year to the next, but deep in the -ness. Spring unfurls, hurls echoes of itself as the blooming of flowers, of leaves and  fronds, of eggs bearing Spring chickens and flower-scented air spurring mating season. At the fat fractal base, a reaching of life out onto the huddled greyscape of a temperate Winter.  Spring is Open(ing) Season.


As such, psychedaelians appreciate it, perhaps none more than here in the Northwest, where sunshine daydreamy days induce long blissful sighs from fabulous fuzzy mammals pleased to be free of wintry darkness and the dankness of wet season. Last week, I heard an echo of this on Grateful Dead & Friends, a show on KBOO radio.


Often as not, peoples' minds bend toward California when they think of hippies, and the Dead are at the Bay Area epicenter of this perceptual vortex . No arguing that. But furthur north than Northern California, in the Oregon of Kesey and the Washington of Hendrix, psychedaelia blossoms as well. 


Especially in Spring, to echo myself. From the southernmost tip of Washington, I drove up out of the Columbia valley with a Help-Slipknot-Franklin's prechoing out of the speakers. [That hyphenated thing is Deadhead shorthand for a three-song medley, in case you've not conversed with this tribe. Deadheads are also into encyclopaedic knowledge of their priestly class and lore, as evidenced this day in the DJ's question--the answerer of which would score tickets to a Furthur (ie, post Garcia) concert!--which was "What's unique about this Help-Slip-Franklin's?" I think the answer was that whatever show he was playing was the first time the Dead had played that particular combination, although the guy was open to there being other answers, 'cause competitive encyclopaedism doesn't have to devolve into fascism, man. But I digress.]


So as it slips into the middle of the medley, I settle into interstate pace on my instrastate drive, and the landscape flows by. Against the dark evergreen background, maples and alders and cottonwoods have appeared into the scene, watercolor reds yellows greens and in-betweens where a couple months before they'd been retreated into grey invisibility. Leaves and sheathes may not fit the saturated vivids we associate with the psychedaelic pallete, but ephemerality and life force are not to be dismissed as color flavorings. Splashed here and there on this quiet tableau, occasionally inexplicable daffodil patches and explosions of cherry blossoms make sure all is not subtle. Meanwhile, sunbeams and liquid clouds dance and share the sky, and the white stripes underfly my red Ford hood. 

By now, they're into Franklin's Tower, the last song. "Roll away the dew" refrains again and again on the recording, and you can hear the crowd. If you are experienced, your body feels the memory of that moment when unison converged on these few words of hope and emergence. Being peripheral to deadheadery at the time I heard this chorus in concert (if I even heard it at all, this  could be false memory talking), I think  I thought the words were "Roll away the doom," which works as an echo for sound and meaning, I guess. Better, even, if you like your watercolor with  some morning dew.