winter colour

The other day we were walking up the Suncoaster trail, past the Malaspina substation, and the day was bright. There was sun, no ice on the puddles, and the air smelled wonderful, a little of the snow we could see farther up the mountain in it, and balsam fir. And there was colour! Not the bright colour of spring and summer when the wild currants and salmonberries in that area bloom cerise. Nor the fall, when the maples turn yellow and orange, the dogwoods rose-salmon, the elders red. The colour I was suddenly aware of was more subtle but maybe even more beautiful for it. Tall young maples on a slope of sword ferns and deer ferns:

young maples

And a mass of wild roses dense with hips, maybe not even wild, maybe some dog roses growing from seed spread by deer or birds:

rose red

Long loose stitches of maroon bramble crossing the edges of the trail, waxy mauve canes of evergreen blackberry, and russet-y hardhack in the damp areas.

I’ve been thinking about colour, winter colour, in part because I’m writing about it and in part because I’m figuring out a quilt. Not the kind of quilt I usually make, pieced stars, or log cabins built of strips of bright cotton. This one is inspired by the Japanese tradition of boro, meaning something tattered or repaired. Boro has long been a way to extend the life of textiles by layering and patching, using a long running sashiko stitch, often described as “structural” rather than decorative, yet in the way that practical or utilitarian work is often beautiful, the long plain stitches are ravishing to my eye. I’m thinking of my quilt as a dark path through winter, through uncertainty, through aging and uneasy health issues, and the more I arrange my scraps into a pattern, the more I see that what the hands do is hugely therapeutic for the soul. Yesterday I spent the afternoon cutting and placing. Later today I may begin to actually sew. Some of the pieces are familiar — tweed from a waistcoat I made John years ago and because Forrest liked it, I made him one of dark grey wool flannel and that’s there too; little scraps of Japanese hemp and cotton; some deep blue linen; some grey-blue silk with a scribble of blue velvet like the contours on a map; gorgeous Indian silk given me by a woman who makes theatre costumes and who invited me to plunder her scrap bag. Because I have a thrifty heart, I haven’t wanted to throw out the tiniest remnants, ever. And now I have a use for them.


Last night there was a waxing crescent moon in the western sky when I got up to pee. And I wondered, maybe I need to light this path with a curve of golden silk. I’m thinking about how to do that as I write. The 18th century Japanese poet, Chiyo-ni, wrote about that moon and it’s her words I hear as I plan this quilt:

at the crescent moon
the silence
enters the heart


summer dramas and ballets

When you live in one place for a long time — it’s been around 33 years for us here in the house we built near Sakinaw Lake (I say “around” because we bought our property in 1980, spent as much time as possible, more than half of most weeks, here until we “officially” moved to our unfinished house in the fall of 1982) — you notice the small and large dramas of those you live amongst. Lately we’ve been watching mud-daubers fill their nests with spiders for the larvae to feed on until they become long-waisted wasps themselves. It’s a bit creepy but also really interesting. Last night we must’ve been right in the flight path as one gathered spiders from under the deck and then flew to the small nest it had built under the eaves of the deck where we eat our dinner. It kept flying right by me but they are quite benign and although I moved my chair a little, I didn’t feel threatened. Not the way I feel later in summer when the vespula wasps (hornets and yellow-jackets) come to the table while we’re eating, landing on any kind of protein. They love the skins of barbequed salmon or roast chicken and they’re quite aggressive. I know, I know. They have a place in the scheme of things (and I love to watch them eat scale insects off my lemon tree) and they mostly go about their own business until late in the season when they seem desperate for meat, even humans.

The Roosevelt elk in our area were introduced in the late 1980s, though most people agree that this was part of their range until they were extirpated in the 19th c. The idea was that the elk would move up and down the big Cheekye-Dunsmuir power line and forage on maple and other brush that was being removed at that point by herbicides. Every time B.C. Hydro applied for a permit to spray or hack and squirt some terrible toxin in what was actually watershed, people understandably got upset. It was hoped that the elk would be part of a natural solution to the problem. And I think they were but no one expected them to settle in quite so happily and make themselves at home in local orchards, a market garden, the golf course…

I don’t like it when they eat the vines on the side of our house or essentially our whole small orchard (this is partly the subject of my work-in-progress, “Euclid’s Orchard”) but it’s always a thrill to see them. They’re huge. Some nights when we’re driving home from dinner with friends, we see them crossing the highway, 20 or more, the heart-shaped yellow rump patch glowing in moonlight. Or we encounter them while we’re hiking, a long fluid line of them disappearing into the woods when they catch our scent or see us in the distance. Last week we saw two cows, one lying down, and the other standing near her. They were on the other side of the cutline but didn’t move. I wondered if there might be a calf nearby. (The females leave the herd to give birth and return 2 or 3 weeks later, once the young one is mobile enough to keep up with the herd.) Elk are creatures of the ecotone, the transistion area where two ecological biomes meet. In this case, there’s a wide grassy corridor under the power-lines, scattered with thimbleberry, salmonberry, elder, wild gooseberry and currant, ocean spray, and other deciduous shrubs, bordered on both sides by dense woods. The grass is as golden as hay right now. Where the cows rested and watched us was perhaps a quarter of a mile away.

This morning we went for a walk in that same area, early, to avoid the heat. We kept an eye out for the elk but didn’t see any. Then at one point on the gravelly trail (the Suncoaster trail system utilizes old logging roads and Hydro access roads), we saw many many recent tracks on the dusty ground as well as very fresh scat. (It was still wet and when we returned that way 40 minutes later, it was dry.) I loved the stories in the tracks. A few really large ones — the bull? — and many slightly smaller ones. And then really small ones, tiny ones, the prints of calves who’d recently joined the herd with their mothers. The air was full of the scent of elk, as pungent as horses. Had they paused to take the sun? Were they watching for predators (there are bears up there and coyotes, the occasional cougar, and sometimes even wolves)? Or was this a social moment, calves shy by their mothers’ sides, and the herd (or harem it is really) accomodating new members in sunlight while ravens circled, red-shafted flickers feeding on ants and other insects in the dry grass, and no bears or coyotes in sight? Here are some notes towards the wild choreography, the fancy footwork. And the score? Oh, something moody and sweet, featuring woodwinds, particularly the flute and the oboe d’amore!