Tag Archives: photography

DANDELION

DSCF4650A little girl handed me a limp, browning dandelion the other day. “You need to put it in water,” she said, smiling hopefully. I knew the sentiment all too well. How often had I fallen victim to the lure of a lawn strewn with fuzzy golden flowers and picked handfuls to stuff in jam-jars, only to discover how short-lived their splendor was once picked.

For the past week, on sunny days, I’ve taken a bowl out to the garden and plucked the heads off the freshly opened dandelions. No, it’s not some manic, pesticide free attempt to remove them from my lawn. I’m storing them in bags in my freezer until I’ve accumulated enough to give to a friend to make dandelion wine. I can’t wait to taste the results.

The name, from the French dent-de-leon, or lion’s tooth, refers to the jagged shape of the dandelion leaves. When I was a kid, I spent hours picking these greens to feed my pet rabbit and tortoise.  I learned early on that the white sap that oozes out of the stem is not only sticky, but permanently stains clothing brown! But I still can’t pass a lush bunch without having the urge to pick them. Packed with vitamins and minerals, these leaves make a delicious dish. I first tasted horta—spring dandelion leaves cooked with tons of garlic and lemon juice and olive oil—when living in Greece as a child.

The dandelion has been used medicinally for centuries, and all parts of it are edible. One of its many names is pee-the-bed, for the diuretic effects of ingesting the dried root. It’s far from being merely a humble weed, and yet, this is the plant that herbicide makers love to target in their advertising. Of the numerous names for the dandelion, found in most languages, my favorite is from the Persian, qasedak, meaning small postman because it brings good news.

The First Dandelion.

Simple and fresh and fair from winter’s close
emerging,
As if no artifice of fashion, business, politics,
had ever been,
Forth from its sunny nook of shelter’d grass—
innocent, golden, calm as the dawn,
The spring’s first dandelion shows its trustful
face.
–WALT WHITMAN.

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A GREEN FOOL

IMG_5137When you think of 20th century Irish poets who embody the notion of rural Ireland, Seamus Heaney is probably the first name that comes to mind. Granted, he was a marvelous poet who deserves his acclaim, yet there are others.

patrick_kavanagh_2Patrick Kavanagh was one such poet. The fourth of ten children, he was raised on a small farm in Co. Monaghan. He left school at 13 to apprentice to his father, a shoemaker, and to work on the farm.

To say he was a conflicted poet is to put it lightly. His poetry was born out of the stony grey soil of Monaghan. He managed to capture the rural life in its bare-bones beauty, while at the same time railing against it. He escaped to Dublin when he was twenty-eight, and for a self-proclaimed peasant, he went a long way to expand his horizons. I suspect he was not always a pleasant fella to be around—hard drinking, belligerent, with a huge chip on his shoulder. But it is the poetry that counts.

At the age of fifty, he had a lung removed to stave off cancer. Convalescing, he would sit on the banks of the Grand Canal that runs through Dublin. And it is here that he seems to have finally come to some kind of peace with the rural landscape that he was so deeply rooted in.

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CANAL BANK WALK

Leafy-with-love banks and the green waters of the canal
Pouring redemption for me, that I do
The will of God, wallow in the habitual, the banal,
Grow with nature again as before I grew.
The bright stick trapped, the breeze adding a third
Party to the couple kissing on an old seat,
And a bird gathering materials for the nest for the Word
Eloquently new and abandoned to its delirious beat.
O unworn world enrapture me, encapture me in a web
Of fabulous grass and eternal voices by a beech,
Feed the gaping need of my senses, give me ad lib
To pray unselfconsciously with overflowing speech
For this soul needs to be honoured with a new dress woven
From green and blue things and arguments that cannot be proven.IMG_6414

THE ROLE OF MEMORY IN STORYTELLING

melissa with poppy - Version 2My youngest son just turned seven. Watching him play with his birthday Lego, it dawned on me that he has reached my memory lifetime, that is, the age from which I have distinct memories. It was also the age I vividly remember writing my first story.

It was about a little girl who wished for a pair of red shoes. She pestered her mother until her wish came true. Against all her mother’s warnings, she wore the red shoes to go exploring. One shoe got stuck in a muddy puddle and was lost. Slowly, the shoe disintegrated, becoming part of the soil, where it nurtured a lush patch of grass . Along came a cow that ate the grass, and was subsequently killed and her hide turned into a pair of red leather shoes. Strange story for a seven-year-old, but with a satisfyingly circular pattern, and, most importantly, based in fact. Yes, I was the naughty child who’d lost her red shoe.

A baby learns that if you smile at your parent just so, you elicit an instant response, or if you pull the cat’s whiskers, chance are you’ll get scratched. From birth, we build a narrative to make sense of the world around us, based on our interpretation of previous experience.

For a writer, consciously tapping into this memory bank is essential. Storytelling, at its heart, is a thing of memory. When I create a story, I delve into a scrap bag and pull out fragments of places I’ve been, weather I’ve experienced, and characters I’ve met. I stitch together a plot and blend it with sense memories to make it come alive—perhaps the salt and dead fish-laced air of a harbor, the heat shimmering off a city sidewalk, ripe with the scents of hotdogs and car fumes and drains, or the solo chorus of a lark rising high above a peat bog.

When my first grade son writes a story his default mode is a graphic novel: elaborately drawn settings and multiple characters with cryptic little speech bubbles. When prodded he will tell me the complicated and action packed plot. These stories are nothing like the ones I wrote at his age, mostly involving princesses and furry animals, but firmly based in recalled events.Milo Pic 1

I know that all children, given the right encouragement, will express themselves through art. As soon as my older children could hold a crayon, they spent many hours drawing—dragons, knights, princesses, superheroes. As a toddler, my seven-year-old who is more than a decade younger than his brother and sister, seemed reluctant to pick up art supplies. I didn’t push him. Then, at the age of four, the drawings started to trickle in from preschool—small, lavishly detailed scenes that required much explanation from him before I could grasp what they were about.

Observing him draw at home, I noticed an interesting thing. His drawings were “live action.” He was animating his fantasy world on the page. No wonder it had taken him a while to conceptualize how to do this. He is a 21st century storyteller.Milo Pic speak 1

Today, in our screen-centric era, kids move easily between the real world and game worlds, often, at least partially of their own making. These worlds can be so enticing that kids (and adults) feel as though you are present in that fantasy world.

I can’t help wondering what kind of storytellers this makes them? Many of their “memories” are constructed from these fantasy experiences, blended with reality. No doubt the next generation will write extraordinary works of fiction. They will create worlds that we would be hard pushed to conceive of. Storytellers of the mid 21st century will break old molds.

And yet, I believe that nothing can replace the scent of wood smoke on the air that instantly transports me to the moment of arrival at my grandmother’s house. Or the feel of slick pebbles underfoot and ice-cold water stinging my knees as I wade into a lake. Or the shame of facing my mother wearing one red shoe, and one muddy sock.muddy red shoe

DREAM OF DROWNING (Trust)

IMG_7439I dreamed so vividly                                                                                                                                         I felt it in every fiber of my body when I awoke.

To say that dream haunts me                                                                                                              Would be an overstatement.

But it lives in a safe, quiet spot in my mind—                                                                                             A dream of drowning.

The preambles have receded with time,                                                                                                But the moment of letting go,                                                                                                                     Of relinquishing my hold, of opening my fists                                                                                     And allowing seawater                                                                                                                                To flow through my fingers,                                                                                                                       Of sinking softly                                                                                                                                             Was sweet.

The ultimate letting go.

TIME WORN II

IMG_8370When I’m out with my camera, my eye seems to be drawn to things that show the passage of time, for example, the stone floors in Aya Sofia in Istanbul. Here are a few more such photos.

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Time Worn

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Last March my family and I spent an amazing ten days in Istanbul. Of course I took way too many photographs. Everywhere you turn, the city is a repository of history.  Looking back on them, a particular series of shots stood out. One of the most famous sights is Hagia Sophia (Aya Sofya), built as a Christian basilica in 537 AD, later an imperial mosque, and now a museum. Of course it’s difficult to drag your eyes away from the soaring architecture and magnificent domes and mosaics all around you. But what really caught my attention were the floors. How many millions of people have come from all over the world to worship and marvel at this stunning building? The grooves and cracks worn into the marble tiles and cobblestones by their feet tell it all.

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If you have any similar photos of the passage of time, I would love to see them. Please feel free to share by putting in a link in the comments section.

READY FOR HER CLOSE-UP: THE WRECK OF THE SUNBEAM

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Built to be a working girl,
Stout wooden timbers,
Eighty-four tonnes, seventy-nine feet long,
A coastal schooner
Plying her trade from Slyne Head to Mizen Head,
The English Channel and the Irish Sea.
And yet her name, the Sunbeam,
Forecast a more glamorous life—
A starlet in the making.

Her course was set for good
On a run from Kinvarra to Cork,
Her hold weighed down with flour,
Connemara rocks, perhaps, for ballast.
A winter storm sent her running for shelter,
Driving her ashore on Rossbeigh beach,
That sandy spit reaching across Dingle Bay.
No loss of life.

And so began her second career.
For more than a century
Flocks of beach-walkers and holidaymakers
Came to admire her oval hull
Sinking into the sand,
Gradually reduced to a skeleton,
Plucked clean by waves
And scuttling sea creatures.
With a backdrop of scudding clouds
Or an incoming tide,
She posed for countless photographs,
Like an old-time movie star
Whose great legs and high cheekbones never fail to catch the light, just so.

It was a sedentary life
For one designed to be in constant motion,
Riding high on Atlantic swells.
That is until the violent tidal surge
Of another New Year storm
Lifted her clean out of the sand
And carried her up the beach to rest against the dunes.
The frail, elderly star
Shook the dust off her silk robe,
And revealed what the ravages of time
Could not diminish:
A raw-boned beauty,
Not ashamed of her working-class origins,
Catching the sunlight for her close-up
One last time.

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The Sunbeam, built in 1860 in Exmouth, England, was shipwrecked on January 3rd, 1903. For more than a hundred years, she has been drawing visitors to Rossbeigh beach, just outside the town of Glenbeigh in Co. Kerry. I had photographed her on several occasions while visiting my sister who lives nearby.

This January, when I arrived in Kerry, a violent winter storm had swept the West and Southwest coast of Ireland, just a few days before. Huge boulders were strewn across the road leading down to the beach, and the playground and public bathrooms were awash with purple and grey rocks. When the high tide receded, the locals were amazed to see that the Sunbeam had been lifted clean out of the sand, and moved up the beach about 400 yards.

Such was her reputation, that it didn’t take long before the sightseers and camera crews arrived on the scene to start taking her picture all over again.

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The Sunbeam, August 2013

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The Sunbeam, January 2014

Thanks to Mick O’Rourke for his informative site: http://www.irishshipwrecks.com/

The West of Ireland in Winter

High water, Lough Carra, Co. Mayo

You often see photos of Ireland in all her emerald beauty. But for me, there is nothing more striking than the subtle colors of winter. This series of photos was taken in January  around the lake shore of Lough Carra, Co. Mayo, and along the coastline of counties Mayo and Kerry.

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Early January evening on Lough Carra, Co Mayo

Early January evening on Lough Carra, Co Mayo

Early January evening on Lough Carra, Co Mayo

 

 

 

BARRED OWLS: FLYING LESSONS

Barred Owl in Basking Ridge, NJ. Photo courtesy of Matt Zeitler, orangebirding.com

Barred Owl in Basking Ridge, NJ. Photo courtesy of Matt Zeitler, orangebirding.com

One early summer afternoon, I stepped out onto the deck to bring in a load of laundry. A movement in the dappled shade of the trees, not twenty feet away, caught my eye. I recognized the dark eyes and striped brown and beige plumage of a barred owl. I stood transfixed, hardly daring to breathe.

The owl called softly and, from a nearby branch, a smaller owl took off. The young owl made a short, swooping flight and landed somewhat clumsily by the adult. The birds seemed aware of my presence, but undeterred by it. For fifteen minutes, I stood and watched the owl parent teach its four owlets to fly, afraid of missing a moment by running inside for my camera.

I had often been woken in the night by the owls calling to each other in the woodland surrounding our house—the distinctive, throaty Who-cooks-for-you, who cooks for you-all? But this was the first time I’d seen one. The barred owl, sometimes called a hoot owl, striped, or wood owl, is primarily crepuscular—active at twilight. However, as I later read, daytime activity is not unusual when they’re raising chicks. Owls nest in tree cavities. The female lays between two and four eggs in April, and then sits for four weeks waiting for them to hatch. Once hatched, it takes another four or five weeks before they young are fledged. I could see that this owl had a lot of time and energy invested in her brood.

I’ve long had a fascination with owls. As a child, camping near the ancient ruins of a haunted Irish abbey, the protracted screech of a barn owl left me frozen with fear in my sleeping bag. Surely the sound was the ghost cry of the monks being murdered by the invading Vikings.

In the imagination, owls are mysterious creatures of darkness. If you’ve ever seen those pale wings swoop in front of your car headlights late at night, and those marble-round eyes staring at you, you know what I mean.

Maybe because of their nocturnal habits and all-knowing faces, tales of owls are deeply rooted in folklore and mythology. To this day, all over the world, they play a dual and often contradictory role—the harbingers of death and misfortune, but also the sign of wisdom and good luck. In Greek mythology, Athene, the Goddess of Wisdom, took the Little Owl as her symbol. In Aesop’s fables, the owl is a shrewd operator with the power to foretell the future. Owls appeared on early Greek coins and were seen as good omens, especially during times of war, and thus were protected.

When I was seven I lived on the Greek island of Corfu with my family. My sisters and I had a small scops owl as a bedroom companion. My father, a documentary filmmaker, who had hand-reared many sick and injured creatures, was recording its habits. Sadly, one day we returned to find its charred body lying in the back alley. It had fallen victim to superstitions that had superseded its protected status.

In Roman times, the owl represented the dark underworld. Witches could turn themselves into owls and suck the blood of infants. The hoot of an owl meant impending death. These beliefs spread with the Romans. In English folklore, a dead owl nailed to a barn door could ward off evil. And folk remedies made from burnt owl and owl eggs could cure everything from alcoholism to Whopping cough.

In Native American traditions, owls are also honored and reviled. To the Pawnee, the owl is the Chief of the Night, and as such, a protector. The Cherokee respect and covet its ability to see at night, but fear its call as an omen of death. Some tribes believe that owl feathers ward off evil and bring healing. Oglala Sioux warriors wear owl feathers to enhance bravery and vision. Yakama tribes of Washington State see the owl as a powerful totem to be consulted on how natural resources and forests should be used.

As I discovered, barred owls have adapted to life in proximity to humans. They don’t seem to mind suburban areas, and even thrive on the abundance of rodents to prey on. I thought my front row seat for the owl flying lessons was a unique show. Little did I know that I’d get a matinee performance the next afternoon, and the next, until those owlets were fully fledged.

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