EA Poe, Nature Writer

I woke up early yesterday morning–quite early, in fact, well before sunrise and well well well before I had any intention of getting out of bed–so I reached for my Kindle and looked for something to read. I landed on a short essay by Edgar Allan Poe, about a stream near Philadelphia. Called “Morning on the Wissahiccon”, I found it a fascinating little piece, parts of it appealing to me on a number of levels.

Poe:

Indeed, in America generally, the traveller who would behold the finest landscapes, must seek them not by the railroad, nor by the steamboat, nor by the stage-coach, nor in his private carriage, nor yet even on horseback — but on foot. He must walk, he must leap ravines, he must risk his neck among precipices, or he must leave unseen the truest, the richest, and most unspeakable glories of the land.

Now in the greater portion of Europe no such necessity exists. In England it exists not at all. The merest dandy of a tourist may there visit every nook worth visiting without detriment to his silk stockings; so thoroughly known are all points of interest, and so well-arranged are the means of attaining them. This consideration has never been allowed its due weight, in comparisons of the natural scenery of the Old and New Worlds. The entire loveliness of the former is collated with only the most noted, and with by no means the most eminent items in the general loveliness of the latter.

I looked up the Wissahiccon, which is now more commonly spelled “Wissahickon”. It is a stream that rises north of Philadelphia and flows into the Schuylkill River (and then to the Delaware, Delaware Bay, and finally the Atlantic Ocean). I am unfamiliar with the Wissahiccon personally, though looking it up on the map I see that I have almost certainly ridden by it more than a few times, first many years ago when we were frequently traveling from home in NY to the Philly area to visit relatives, and more recently when we drove past its mouth at the Schuylkill as we drove through Philly to New Jersey for vacation.

Looking through some photos the last day, the Wissahiccon looks like exactly the kind of stream I love most: rocky, with occasional waterfalls and vestiges of very old industry now abandoned and returned to nature. As urban as this entire region is, the Wissahiccon has largely been allowed to remain parkland; I’m sure for people in the North Philly region and those suburbs, the Wissahiccon forms a lovely place for respite.

Poe, again:

A singular exemplification of my remarks upon this head may be found in the Wissahiccon, a brook, (for more it can scarcely be called,) which empties itself into the Schuylkill, about six miles westward of Philadelphia. Now the Wissahiccon is of so remarkable a loveliness that, were it flowing in England, it would be the theme of every bard, and the common topic of every tongue, if, indeed, its banks were not parcelled off in lots, at an exorbitant price, as building-sites for the villas of the opulent. Yet it is only within a very few years that any one has more than heard of the Wissahiccon, while the broader and more navigable water into which it flows, has been long celebrated as one of the finest specimens of American river scenery. The Schuylkill, whose beauties have been much exaggerated, and whose banks, at least in the neighbourhood of Philadelphia, are marshy like those of the Delaware, is not at all comparable, as an object of picturesque interest, with the more humble and less notorious rivulet of which we speak.

Poe’s entire essay can be found here. I’ve always loved Poe as a writer, but even having read much of his poetry and his prose fiction, I’ve read very little of his essaying. Fascinating man, Edgar Allan Poe.

(Image credits: 1, 2, 3)

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A bit of color

This is a tree down the street. I may have played around with color and saturation settings and put it through a filter. Maybe. You be the judge!

 

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They don’t make Honorary Sheriffs like they used to

Since Herschel Walker is apparently citing his status as being an “Honorary Sheriff” or some such thing among his law enforcement expertise credentials, I’m reminded of this scene from the brilliant film Inherit the Wind.

The more things change….

 

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Friday Night: Three hours to DALLAS!

For no real reason other than I need a blog post (and I’m waiting for The Wife to get ready so we can go out to dinner), here’s a memorable clip from the finale of the sixth season of Dallas.

When I was a kid, I loved Dallas. That show was golden–at least for several seasons; later on it started getting a bit cornier and even slapsticky (there was even an episode where JR got hit with a pie!). Early on, though, it was a blast, even if I think the delightful portrayal of someone as awful as JR on a huge hit show helped pave the way for where we are today.

Anyway, in this clip, JR’s plan to get even with Cliff Barnes has almost come to fruition. What happened was this: Cliff was blackmailing JR’s secretary for inside info that allowed him to beat JR to the punch on several deals. JR found out and rather than firing the secretary, used her to feed him information that he wanted. JR manipulated Cliff into overextending his company to purchase offshore drilling leases, and then JR continued to manipulate things so Cliff’s company, Barnes-Wentworth, was nearly beankrupt*. Cliff went to a shady banker for last-minute capital, a guy named Vaughn Leland, but guess what! JR was behind that, too! Adding to injury, JR paid off Cliff’s drilling crew in the Gulf of Mexico to pretend to drill but never actually strike oil, so now Cliff’s time is running out.

That’s where this scene happens, and it’s really a well-done scene, with Larry Hagman delivering some of his best work as the sociopathic oil millionaire. Hagman and Ken Kercheval, who played Cliff, always bounced off each other so very well! Anyway, this scene is a perfect illustration of 80s soap-opera villainy.

Oh, what happened after this? Well, in this episode a whole lot of people are established as having reason to hate hate HATE JR, and in the end an unseen person with a gun goes to Ewing Oil and fires three bullets into JR’s chair…but it’s Bobby who falls to the floor, fate unknown. Oh NO! (It would turn out to be Bobby’s spurned would-be lover, Katherine Wentworth, who shot Bobby, and she meant to kill him all along; JR was never her target. As for Cliff’s company, a scene a few minutes after this one has Vaughn Leland returning to Barnes-Wentworth to foreclose, but not before the new foreman Cliff hired, in a Hail-Mary attempt to strike oil in the Gulf earlier in the episode, calls with the news that he has indeed struck oil. When the next season started, Cliff was rolling in money.

* Obviously a typo that should be “bankrupt”, but I’m leaving it in because “beankrupt” amuses me. It’s like a fictional German word.

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Something for Thursday

Ralph Vaughan Williams, 1872-1958

I did not realize, until late in the day yesterday, that it was the 150th anniversary of the birth of British composer Ralph Vaughan Williams. I’m going to have do some feature work on him in the coming months, I think. I’ve loved Vaughan Williams ever since I first encountered him via his “English Folk Song Suite”, a perennial favorite for concert band, while I was in high school. Vaughan Williams’s work has always fascinated me, representing a different kind of nationalistic post-Romanticism, not exactly modernist in its approach, but definitely a rejection of (or maybe a reaction to? Correction of?) the dominance in Europe of the German symphonic traditions.

Vaughan Williams looked inward for his influences, both to English folk song (a common approach of many English composers of his day) and to early English music, specifically that of the Tudor era. His Fantasia on a Theme of Thomas Tallis is probably his most famous such work. Vaughan Williams also had other fascinations, too: the poems of Walt Whitman seem to have spoken to him, as he set several of them in prominent works and in some of his art songs.

One such poem by Whitman, “Darest Thou Now O Soul”, has a pretty clear subject, as it appeared in a section of Leaves of Grass called “Whispers of Heavenly Death”. Here is the text:

DAREST thou now O soul,
Walk out with me toward the unknown region,
Where neither ground is for the feet nor any path to follow?
No map there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes, are in that land.

I know it not O soul,
Nor dost thou, all is a blank before us,
All waits undream’d of in that region, that inaccessible land.

Till when the ties loosen,
All but the ties eternal, Time and Space,
Nor darkness, gravitation, sense, nor any bounds bounding us.
Then we burst forth, we float,
In Time and Space O soul, prepared for them,
Equal, equipt at last, (O joy! O fruit of all!) them to fulfil O
soul.

Vaughan Williams would set this poem in to a deeply moving, beautiful and compelling work for chorus and orchestra, which he called “Toward the Unknown Region”. Shades of Shakespeare’s “undiscovered country”. This is as good an entry point in Vaughan Williams and his uniquely English twentieth-century sound world that I know.

More Vaughan Williams to come, I think. I won’t pledge a weekly exploration, but…we’ll come back to RVW a bit over the next few months, I think.

 

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Moonrise, Sunrise

 

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Dame Angela

NBC News, among others, is reporting that Dame Angela Lansbury has died at 96.

Lansbury has been a part of my cultural life for just about as long as I can remember. She wasn’t exactly omnipresent, but she just…showed up every once in a while (especially a long stint in the 80s during the run of Murder, She Wrote). By the time she was on my radar she was slightly pigeonholed as the elderly grandmother type, so it was quite refreshing to watch The Manchurian Candidate in which she was disturbingly cold and chilling.

Still, for me, this movie and in particular this song will always be Peak Angela Lansbury.

 

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Tone Poem Tuesday

Continuing a series of autumnal or autumnally-inspired works, we have quite an avant-garde work today. It’s amazing how new and striking this piece sounds in my ears, given that it is over 55 years old, having been commissioned by the New York Philharmonic Orchestra in 1967.

Toru Takemitsu was a Japanese composer who was very modern in his sound, and who incorporated many 20th century compositional techniques in addition to his Japanese aesthetic. Takemitsu also evolved greatly throughout his highly prolific career. I’ve only heard a small portion of Takemitsu’s work, never enough, for he was a fascinating musical voice.

November Steps is a work for traditional Japanese instruments and full orchestra. At this point in his career Takemitsu had not done much for traditional Japanese instruments, finding in such music stark reminders of the horror of World War II. He eventually relaxed this stance, but at first–with November Steps being one of the very first such works by him–he was convinced that the Japanese and the Western musical traditions were too starkly opposed to be truly integrated. Hence his juxtaposition of the Japanese and the Western in the pages of November Steps.

November Steps is not a warm work, but it is an introspective one suggestive of the kinds of cold winds that can slice through the November skies which are more gray than blue, once all but the most stubborn of the leaves have fallen and all that remains is the coming of the snow. It is also not a work where Western formalism is taken into account much at all. Takemitsu composes a kind of stream-of-consciousness work here, a sequence of moods more than a formal examination of musical ideas.

Here is November Steps by Toru Takemitsu.

 

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Indigenous People’s Day

Mine is one of the last generations, I suppose, that was taught all the happy American mythology about Christopher Columbus and how he, knowing that the Earth was round whilst everyone else thought it as flat, thought to sail all the way around, and so doing discovered a land of gold and honey that no one knew about.

“Was anybody here already?” one of my classmates or I must have asked.

“Oh yes, the Indians were here. And there was a bit of fighting here and there but there weren’t many of them and they eventually welcomed us and helped the pilgrims.”

“But,” I wish one of my classmates or I had asked, “if they were so nice and welcoming then, why were they bad guys later that we had to kill and now we play ‘Cowboys and Indians’ at recess?”

Anyway.

Here is a poem by Denise Levertov. It’s an English translation of a Spanish poem, that is itself a translation of a Toltec poem that predates the arrival of Columbus. We aren’t sure how many people lived in the Americas prior to 1492, but estimates tend to range in the tens of millions…and by a hundred years later, colonization from Europe had gutted that number down to a small fraction of what it had been before.

Millions.

Vibrant cultures with trade and complex art and architectures and traditions…wiped out.

The poem:

THE ARTIST

The artist: disciple, abundant, multiple, restless.
The true artist: capable, practicing, skillful;
maintains dialogue with his heart, meets things with his mind.

The true artist: draws out all from his heart,
works with delight, makes things with calm, with sagacity,
works like a true Toltec, composes his objects, works dexterously, invents;
arranges materials, adorns them, makes them adjust.

The carrion artist: works at random, sneers at the people,
makes things opaque, brushes across the surface of the face of things,
works without care, defrauds people, is a thief.

From World Poetry: An Anthology of Verse from Antiquity to Our Time.

 

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All aboard!

Today we took a fall train ride. There’s a train that does scenic rides out of the depot in Hamburg, NY. We did this a year ago and greatly enjoyed it, so we did it again today. It’s an out-and-back ride, covering maybe twenty miles out and twenty back, or maybe less; the train slows way down when going over two trestles that cross the two branches of Eighteen Mile Creek, mainly so people on board can go Ooooh and Aaaaah and take pictures.

First, when going on a train ride, one dresses appropriately. Bring on the hickory stripes!

It was also cool out, hence the scarf. First wearing of a scarf this season!

Also, a couple of the workers on the train complimented my outfit. So that’s two weekends in a row getting compliments on my overalls. Yay! (I really love the hickory stripe pattern, if you couldn’t tell.)

And now, photos. All of these were taken on the return trip, when I got the window seat; The Wife had the window on the way out. WNY is putting on a lovely show so far this fall, I must admit. The stream is Eighteen Mile Creek, which actually has two branches that meet in a confluence a mile or so downstream of each place where the train crosses. The creek is named by virtue of its mouth lying eighteen miles downshore from the beginning of the Niagara River.

I’m told there is lots of good hiking along Eighteen Mile Creek. Cane and I never made it down here. Alas….

If you want to see all of the photos from the ride, plus a video I culled together, it’s all in a Flickr album, here.

Now, photos:

Today was the kind of day when the sun came and went and the clouds moved so quickly you could see their shadows rolling across the fields.

This is just somebody’s yard, but they have three giant willow trees. I love willows. I wonder how the one in front of our old house is doing….

Lots of old railroad detritus on the sidings by the depot.

 

 

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