Blue Ridge: Close

Beyond time to plant corn, according to oak leaves larger than mouse ears.

The second week of April in the Blue Ridge mountains in this wild year of Winter-straight-to-Summer, buds responded to the 40's to 90's weather by exploding. I walked through woods in their last gasp of long visibility, canopy emerging.

And flowers, too. Roadside redbuds blossoming ahead of their understory kin. Other flowers I do not know on branches above the fading daffodils strewn in the woods.

Meanwhile, the less glamorous trees flicked a fleeting beauty, befire getting on with their biomassing.

 And their Virginia creeping.

Meanwhile, in civilized clearings of the foothills, imported Asian magnolias danced, tossing off petals into the heated air.

Flowers and leaves battled it out to adorn the water color sky.

The tulip poplar began it's year of display.

A grave-side hawthorn stood guard, stark against the sky in these days before flower and foliage soften its profile.

The orchard trees beckoned bees.

And ornamentals let it be.

Belle blossoms pealed.

Buckeye foliage unfurled.

And sumacs shouldered their way in.

Fall Furrows

It seemed to this urban-dwelling sporadic observer that the wheat came in a little late this year. So it was under an Autumnally enlightened sunset that Route 2 treated me to a beautiful furrow show. Some people hear and speak a mass, others light something or other at a temple, and rumors hint at a thousand other rituals fearsome or enticing. My own thousand rituals include this: shooting straight as an atlatl dart across loessy plains, following the sun homeward as it's last rays summon every modest rise and dip, relieving the land of its be-dulled flatness and waking colors whose brevity and intensity capture a beauty hidden by the rays of the livelong day. 

Lest only my prose be purple, I add this photo.

The flow from day-yellow through all the flame-pallete licks of orange-red and purplescence to night-blue, this refusal to sit still or reduce itself to on/off digitized dichotomy, reminds me that the world's hard margins are illusory. At the edge of day and night, dark and light dance, sitting still only in the snapshot, not the reality. The penumbral Cascades spill across the Plateau, light kisses one side of a furrow as the other yawns toward slumber, the observer is hard pressed to pin down a pivot point. The wind often slackens, there may be an instant of weightlessness as the boundary is transcended, but to look for the apex of the curve or that tick of the clock that switches from day to night is to kill the ritual. The odd photons Brownian bouncing through the dark cast the strongest light, even if they are hardest to see. 

The sidewise gaze of light late in the day and year catches the ripples that hide under mid-day sun. Waves appear, embodying the songs of the landscape, from the basso profundo of Tahoma and the full symphony of Cascadian peaks to the lilting riffs of loess. And then, atop it all on the loessy lands either side of Moses Coulee, the furrows plowed by man like grooves in an old vinyl record in numbers sufficient to go platinum on the charts, top of (and feeder of) the pops. Some of it bland and straight as formula Top 40 can be, but othertimes looping hills and meandering dales, whorling like the fingerprint of Coltrane or Hendrix.

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.