Note: this is from March 20, 2018. The Vernal Equinox is tomorrow and I wanted to know what happened in other years. This year? Well, a dump truck is here, with sand for the base of the greenhouse we are building, and I suspect we’ll be laying the paving stones on top of that in readiness for erecting the actual structure.
First day of spring, and it’s grey. But last night we went to have dinner with our friends on Oyster Bay and it was like so many dinners we’ve had over the 32 years of our friendship. Arriving before the sun went down to a bay filled with goldeneyes, buffleheads. The whoosh of the tide. The smell of woodsmoke as we gathered by the fire to drink a glass of champagne (because they invited us, 4 of us, to celebrate my recent nomination for a B.C. Book Prize!). Looking out the window at the crazy roof of the old part of the house—we were in the newer part—anyway, the old part of the house that was originally a floating camp kitchen where high tides wash under the floor, pulled up onto land in the 1930s or 40s and shored up with logs, I said to one friend, “This is the world we hoped to find when we moved here in 1982.” A place my old friend Charles Lillard described so beautifully in “Closing Down Kah Shakes Creek”:
This is an old west where a secret cove with an old house
is called history, a raven cackling on a limb, mythology.
We ate oysters collected earlier in the day from the beach (and there was a bucket full of them waiting for us to take home at the end of the evening), prawns, a delicious side of perfect salmon, and finished with lemon meringue pie. Champagne, and French chardonnay tasting of wet stones. A vase of snowdrops on the table set with my friend’s family Meissen, brought home from her mother’s house after her mother’s long life ended. Everything so beautiful and cherished.
I want to record these times because when we’re gone, will anyone remember that a house sat at the edge of a bay and 6 friends ate a feast pulled from its waters? That we talked of poetry and art (two of my friends are painters), of our children who are all making their way in the larger world but who all knew this house in their childhoods, swam off its generous rocks?
I wrote a novel about this bay after a series of dreams about a man in a small boat. A Man In A Distant Field is set in the salt meadows at the end of the bay where creeks find their way down to it from Mount Hallowell.
Past the watery thickets of eel-grass streaming over the surface of the bay, past the reeds where nests were concealed, past the tiny cove where Declan had stumbled upon Rose digging for clams with a stick shaped like a bird’s claw. There were sandy areas punctuated with oysters, the small Olympics that tasted sweet when you pried their shells open and drank them back like nectar, and there were rocks encrusted with the bigger Pacifics brought from Japan. The man who’d given Declan passage up the coast had told him that he was growing the big oysters on the beach in front of his homestead, hoping to market them to the steamships; he brought boxes of seed by boat from Vancouver, his young son responsible for keeping the boxes damp. “If it’s a high sea,” the man had said, “I tie a rope around his middle so he doesn’t wash overboard.” Declan imagined them coming up from the strait in wild seas on their boat with the boxes of oyster seed, the child tethered to the wheelhouse while the father steered a straight course for home. He heard the echoes of Odysseus resisting the song of the Sirens, lashed to the mast, while his men rowed past the pretty music. What song might lure a child from the deck of a small boat heading north to Pender Harbour into the dark waters of Georgia Strait?
I think it might be the song we hear that draws us back to dinners on Oyster Bay, talking of poetry and children, and all around us, the scent of woodsmoke, of salt.