the cassandra pages

A Greek Landscape for Earth Day

On this Earth Day, I could have written about Iceland, where new earth is being born this very minute. But instead, here is a painting of an elemental landscape in Greece, one that's probably existed in various forms for as long as human beings have gathered fruit from trees and fish from the sea: stony soil, an olive tree, the sea just beyond. If we listen, maybe we can hear the tinkle of bells on the collars of sheep and goats, herded into a hollow just beyond the picture frame... In Mexico, perhaps the olive would be replaced by some agaves. These are the sorts of natural and agricultural landscapes of basic sustainability that exist all over the world, which are threatened by climate change, and which we must protect. 

As I painted and thought about these things, I enjoyed knowing that some of the pigments I was using came directly from the earth too, and that water -- the most basic substance of all -- was the medium in which they were dissolved. But the connections go far deeper than the food we eat, or the elements we use in our daily lives.

For instance, it's iron that gives its red color to the earth that was at my feet in this picture, and there's an iron molecule in the center of each hemoglobin molecule in our blood, which is why it appears red.

Most of the time, we don't even think about these interconnections. But actually we are creatures of the earth, just as much as the old olive tree with its roots in the rocks: it's true on the macro level of our interdependency for life itself, and it's true on the micro level of the smallest cells in our bodies.

When we spend our lives in paved-over cities of concrete and steel, surrounded by digital screens, it's a lot harder to understand who we are, and where we come from, than it is for the shepherd who herds his sheep across this hilltop every day, or the farmer who gathers the olives from the tree and presses them into oil for his salad and his fish. I think, though, that we do all have some innate sense of connection, whether it's the awe we feel when watching a volcano being born, or the peace that comes from watching the ocean, or being in a forest or on a mountaintop. 

I feel more hope for our earth than I did a year ago. It's tenuous, but I do feel it, along with a great love and longing to be out in the natural world, where I always find myself again.

 

Hermit Diary 48. Color to the Rescue

There is nothing greyer than a northern November, before it snows. And then, when the dark days and long nights of November stretch into December, and the sun feels like it's on permanent holiday in Patagonia, so far away that it's forgotten us entirely, I'm not the only one who has trouble. I don't suffer from Seasonal Affective Disorder in a clinical way, but it's a rare person living this far north who isn't affected at all by the lack of light, the wan sky, and the monochromatic dullness of the city and the bare trees. And that's in  a "normal" year: in 2020, these factors are combined with the isolation and fatigue of the pandemic, dread rather than anticipation of the holidays, and the knowledge that we're only at the beginning of what's sure to be a long winter.

While it's still relatively easy to walk, I'm trying to get outside every day, and I'm also doing a daily online program of stretching workouts, because I know that moving my body helps my mental as well as physical health. We cook a lot and eat well, and although we're often awake for hours in the night, we eventually go back to sleep, so I don't feel physically tired. Our feline companion is a delight and a comfort. I'm quite busy. But I admit: I'm very sick of living this way. 

As I wrote a while ago, color helps. I'm trying to wear brighter colors, and to get out our most colorful ceramics and textiles for our home. We don't plan to put up a Christmas tree, because our houseplants have taken up all the room we've got, but there are little lights and a few ornaments on the rubber plant-that-is-now-a-tree, lights outside our terrace, lights on an evergreen garland above the bookshelves.

And I've been drawing and painting. I was one of those kids who could happily spend hours arranging her giant box of crayons, and even now, just opening my box of watercolors gives me a little rush of delight. I hope I never lose that pleasure at the sight of an array of colors, and the endless possibilities they represent. The other day I got a delivery of a set of colored tissue papers, maybe for gift wrapping, maybe for collage: it cost something like $7, and looks to me like a world of pleasure. I also sorted through a bunch of old origami paper, pulling out a whole set of blue shades to make a ten-pointed folded star (more on that in a subsequent post). You don't have to be an artist to incorporate some "color therapy" into your day: it can be as simple as spending a half hour scribbling with colored pencils, making abstract patterns with watercolors, sorting your lipsticks or eyeshadows by shade, or your neckties; organizing your closet, your yarn, your table linens or towels. You have my solemn guarantee that it will make you feel better.

We're all having to dig deep right now, and many of us are struggling with loss as well as anxiety and uncertainty. The holidays are going to be a mixed bag -- a break in the usual routine, perhaps, but nothing like the holidays we normally share with family and friends. What's the hardest for you, and what's helping? Let's tell each other.

 

 

 

Hermit Diary 46. Missing the Sea

Growing up in central New York State conditioned me to fields, forests, lakes, hills and river valleys. I was five when I had my first glimpse of the ocean, from New York harbor, but I wasn't actually on the ocean until I was 10, when my parents went on a deep-sea fishing trip off the coast of Maine with another couple and their son. We took off in a fishing boat and everything was fine until we anchored far offshore -- you could no longer see land -- and began to fish for cod with heavy-duty rods. I loved to fish and was excited to see dolphins, which we hadn't expected. My father and I hooked one large fish and were trying to reel it in when I began to feel the bobbing boat under my feet, and in just a few more minutes I was heaving my breakfast over the side. It was perhaps 9 in the morning, and I was wretchedly sick for the next six hours; when we finally got back to land I had trouble walking to the car, and vowed I'd never go out on the ocean again.

But some sort of fascination remained, and eventually got the better of me; my husband and I spent two summer vacations in Maine with friends of our own, and I was able to explore tidal pools and beaches on foot, and sheltered coves from a canoe. I've spent time on the Atlantic in South Carolina, Florida, New York and many parts of New England; the Pacific in California; the other side of the Atlantic in Cornwall and Portugal; the cold North Sea in Iceland and the warm Mediterranean in Italy, Sicily, and Greece. Oddly, during the pandemic, my thoughts have turned again and again to the sea. The other day in my studio, I pulled out a box of shells and other beach artifacts, and made these watercolor and ink drawings. All the shells here are from Block Island, off the coast of Rhode Island, where generous friends of ours have a house that we've been invited several times to visit. I spent happy hours on a rocky beach picking up odds and ends of seaweed, feathers, shells, crab carcasses, glass, and pebbles, knowing someday I'd want to draw them.

It made me happier to make these pictures, to escape into textures and colors that reminded me of places where I was both tranquil and curious. I know so little about the ocean, really. I'm in awe of its majesty and respect its power, and I'm drawn to its magnetically repetitive waves, its changeability, and the life it holds. As much as I love the calm, pastoral landscapes of my childhood, and find the woods and streams and lakes familiar enough to be unafraid there, day or night -- I know enough woodlore to probably survive quite a while in such an environment, if uninjured and warm enough -- my ignorance and unfamiliarity about the ocean keep me healthily cautious and aware. I like ferry trips, but I'm always a little nervous about getting seasick again, and the idea of an oceanic disaster seems more frightening to me than any air flight. I'd never go on an open-ocean cruise. Nevertheless, on the other side of every ferry trip there's always been something fascinating, and so much to see on the passage between, that I've forgotten my fears.

So why have I been thinking about the sea so much? I'm not sure. Some is wistfulness about not being able to travel, and wondering if I'll ever go back to some of the places I love, but I think it's more elemental than that. Maybe it's just a desire to sit and watch the waves crashing on the rocks, taking away my thoughts as I follow each wave like a breath, and then another: a desire for that renewal coming from somewhere I can't see, imagine, or understand.

Hermit Diary 45. Microcosm

I've made terrariums since I was a little girl. These miniature worlds fascinated me, perhaps because they reflected the natural places where I often played with my dolls: the mossy crevices between tree roots; the lush gardens of moss and lichens and fungi growing on stumps and dead trees in the woods, the little glades of clubmosses, ferns, wildflowers, and tiny tree seedlings in spots that caught a bit more light in the understory. In the fall, my mother and I would go on a gathering walk, collecting these small lifeforms for a terrarium that would stay green through the long winter, often in an old aquarium tank that no longer held water well enough for fish.

My husband and I recently brought all our plants inside for the winter, and, for the first time, set up grow-lights and humidifiers to help them out and increase the range of plants we could maintain during the days of short, dim northern light -- and also to help ourselves endure and enjoy what promises to be our own long winter captivity in a small apartment. We have an area for herbs, we've got orchids and begonias and many houseplants, and another place for cacti and succulents, all of which seem, so far, to be thriving.

The plants in a woodland terrarium are very different from these: mosses and ferns are primitive plants that reproduce by spores rather than flowering; lichens are composite organisms of a fungus living in symbiotic relationship with algae or cyanobacteria. Mosses are non-vascular plants that have been around for 470 million years; ferns, which have a vascular system, first appear in fossils in the Devonian period, 360 million years ago. Today, primitive plants persist in environments on the planet that reflect early conditions on earth: at the volcanic rift valley of Thingvellir, in Iceland, I spent one of the happiest days of my life exploring the riches of that tundra landscape where mosses and a wide variety of lichens thrive on volcanic rock. In geologic history, slow-growing mosses like these absorbed CO2 and dissolved the underlying rock, releasing chemicals into the atmosphere that caused marine die-offs and C02 absorption that ultimately led to the formation of the polar ice caps. Today, the reverse is happening.

Thingvellir, Iceland

My field-biology mentor, Herm Weiskotten, increased my knowledge of these species during the years I worked with him in the New York State Department of Environmental Conservation. A botanist by heart, he loved nothing more than primitive plants, and we roamed central New York together in search of rare clubmosses and maidenhair spleenworts and other specialized plants to be grown in terrariums for our educational exhibits, or carefully transplanted into limestone outcrops or acidic woodland environments on our interpretive trails. One of my most precious possessions is a bent and water-damaged Peterson Field Guide to the Ferns and Clubmosses with Herm's name in the front, and several pressed fern fronds between the pages: he gave it to me after a misadventure where we both fell into the water of some remote bog.

I haven't had a terrarium for years, but as the leaves came down and the weather turned colder, I kept thinking about making one. We have a perfect glass bowl that originally held miniature succulents, a gift from our friend Jenny. Last weekend I brought it home from the studio, lined the bottom with stones and charcoal, added a layer of woody soil, and started gathering moss from northern sides of buildings on the city streets. Yesterday I went for a walk up on Mount Royal, the large hill we Montrealers call "the mountain", where I hoped to find a greater variety of potential inhabitants. It was a warm day, and I was happy being in the woods; I left the regular paths and wandered through the blanket of fallen leaves, checking out fallen tree limbs and moss-covered boulders, climbing higher and higher to where I thought I'd be able to find some lichens. After an hour or two, I came back down to my bicycle and the city with my small backpack holding treasures: mosses, a liverwort, grey-green and chartreuse lichens, a tiny shelf fungus, bits of shale and birch bark, a small fern.

This small and symbolic act has a lot to do with the election. As I’ve worried and waited, my thoughts keep returning to two issues in particular: the struggles of blacks, people of color, and migrants, and the peril facing our climate. The damage already done to both by the current administration is incalculable, but four more years could be irreparable.

I’ve lived a long time, and recognize that, like the lichens, my life continues to exist in a delicate balance with the other lives on our planet -- human, animal, plant, single-celled organisms, bacteria, and those, like viruses, that inhabit a shadowy zone between the animate and inanimate.

The terrarium is not a sealed, balanced, self-sufficient and self-perpetuating biodome, but a micro-environment for which I’m responsible: it can succumb easily to mold, drought, or neglect. As such, it’s a microcosm of the responsibility we bear for everything and everyone more vulnerable than we are, and thus subject to our destructiveness, indifference, and self-interest.

In the end, I find I care less about the survival of the human race than about the survival of biodiversity: the extinction of species at our hands has always cut me to the heart. I shudder to imagine a future for human beings that involves artificial environments or other planets where "trees" and "animals" only exist in giant, controlled biodomes isolated from a toxic exterior. The climate crisis will dwarf anything we’ve experienced so far, increasing human migration and threatening every remaining species as well as the air we breathe and the water we drink. The election of an American president who respects science and understands what we’re facing is perhaps one step back from the precipice, but we haven’t a moment to lose. This little world will remind me of that fact every day; unlike the larger one, I can hold it in my hands, admire its fragile beauty, and try to give it what it needs.

Montreal Welcomes a Modern-Day Prophet

Text by Beth Adams, all photographs (c)2019 by Jonathan Sa'adah

 

I participated in the climate march last Friday, along with more than half a million other Montrealers. We had a good-sized contingent from Christ Church Anglican Cathedral, and we all met up there, and walked to the starting point together. My husband, who's a professional photographer, roamed around the route of the march, and ended up just behind the official press area at the stage where Greta Thunberg eventually spoke. 

One of the young people who was marching with us said that this was her very first protest march - she grew up in the Midwestern U.S., and has just started graduate work at Montreal Diocesan Theological College. Several of us, who've already done this for a lifetime, talked to her about how she was feeling -- she was excited -- and she asked about the most recent, or most memorable, marches we'd gone to. 

Students climb up the Sir George Etienne Cartier monument, for a good view at the start of the march.

There were a lot of great signs in both French and English -- I thought the large poster of Greta as Joan of Arc, in armor and dark bangs, was pretty clever, and very French, but certainly hope she doesn't meet such an awful fate.

Who could not be impressed, buoyed, and encouraged by the spirit of this preponderantly-youthful crowd, who seemed determined and mostly cheerful in spite of the dire warnings on their signs? But I noticed that the faces of many of the older people looked much more solemn: we know the stakes and the opponents now, we've been here before: against war, against nuclear power, against apartheid, for the rights of refugees, the rights of women, blacks, the disabled, those who are LGBTQ+. We're worried that this movement, as large as it is, and as absolutely right as it is, will have great difficulty prevailing over the forces arrayed against it. Nevertheless, it was a great day, and I was proud of my city and every person who had come out to march.

We had a long time to wait before getting started, and the crowd was enormous. I never made it to the end because I had another obligation, and my feet were killing me, so I bailed out in mid-afternoon and walked back home; Jonathan didn't get home for several more hours. In spite of the city making the metro free for the day, it was still very crowded, and some of the stations had been made entrance- or exit-only to try to alleviate the congestion. I was impressed, too, with the orderliness and camaraderie of the marchers, and the benign, friendly attitude of all the police. A day later, when my husband and I walked around the area where the march had ended, there was not a trace of debris or destruction from those 500,000+ people.

The Rev. Jesse Zink, Principal of the Montreal Diocesan Theological College, wrote an essay titled "Thus saith Greta", likening Greta Thunberg to an Old Testament prophet. That wasn't a comparison that had occurred to me, and it really struck hpme, especially when I saw the photographs Jonathan had taken. She stands alone and vulnerable, a child, looking even younger than her 16 years, and she yet she has the courage to speak truth to power. Rev. Zink writes:

"Like many other prophets throughout history, her ministry has imposed a cost on her: she has given up school, she has changed her life, she has been subject to accusation, slander, and attack...

In both her UN address and her Montreal speech, Thunberg leveled a straightforward generational challenge: 'You are failing us. But the young people are starting to understand your betrayal. The eyes of all future generations are upon you. And if you choose to fail us, I say: We will never forgive you.' One of the reasons climate change is such an intractable problem is precisely its inter-generational nature: the actions of one generation are largely felt in another..."

Zink speaks of the Biblical covenant between humans and God that Moses revealed as being specifically inter-generational -- in fact, "down to the thousandth generation" - in other words, forever. Other cultures and religions have similar stories that pass down the idea of stewardship for the earth to subsequent generations. Part of why human-caused climate change is so malevolent is that it violates this long inter-generational responsibility, and, I might add, destroys it in such a short period of time.

"As we discussed in the ministry seminar on Friday, the world needs prophets, evangelists, missionaries, and preachers. But we also noted that it needs priests, people who can gather the community and enable its gifts to be released. We saw that in Montreal on Friday in the relatively low-profile and anonymous group of people who provided the forum for a prophet of our time to preach her word."

In my lifetime, I don't think I've ever seen anyone quite like this young David going up against Goliath. Montreal is not a religious city any longer, but it is a principled and progressive international city where people think, and are willing to stand up for their beliefs. Last Friday, it felt like part of what the crowd was doing was holding Greta up with our bodies and our voices, giving her that forum in which to preach, and also giving her "our ears to hear." Each of us must find our own role in this crucial struggle, and we can't allow ourselves to be discouraged: it is her future, and the future of all the young and yet-to-be-born of our precious and fragile earth -- not just humans, but all living things -- that we are responsible for protecting. 

Earth Day

Today I've been thinking back to the very first Earth Day in 1970. I was a senior in high school, and on that day we went over for a program at the new Rogers Environmental Education Center that was being built in my rural central New York town. It was an entirely new concept: an "environmental education center" under the auspices of the New York State Department of Environmental Conservation, built on property that had once been a state "game farm" raising pheasants, quail, turkeys and other game birds for release on state lands for hunting. During my childhood, this was a place we went for picnics and to see the enormous native trout in the concrete ponds, feed the wild ducks, keeping a safe distance from mated pairs of Canada geese protecting their offspring, and wander around the cages that housed displays of "fancy" pheasants, game birds, and screeching peacocks.

On Earth Day, our class heard about concepts like recycling, sustainability, organic gardening, environmental pollution, and ecology, that were actually relatively terms at that time. The presenter was a charismatic state field biologist named Herm Weiskotten who had been hired as the center's first environmental educator. I loved everything I heard, and admired him, and that summer and for all the summers and some vacations through university I worked at the center as an intern. For two years after graduating I worked full-time as a naturalist and artist/exhibit and graphic designer under the CETA program, sharing an office with Herm, who had become my mentor, teacher, and friend. I was incredibly fortunate to know him and work so closely with him; he taught me a great deal, gave me confidence, and steadfastly encouraged me in my art and my love of the natural world. We went all over New York State together, laying out nature trails -- another new thing at the time -- and talking. I was responsible for sketching and drawing the illustrations for trail guides and exhibits, but Herm and I also shared a great love for native plants, especially the so-called primitive plants like ferns, mosses, horsetails, lichens and liverworts, and we searched together for rare species. During those years I'd work all day, come home, cook dinner for myself, and spend the evening in solitude practicing drawing and teaching myself how to paint detailed watercolors.

The field guide in the top picture was his. He gave it to me after it fell into a stream once when we were down in some gorge looking for limestone-loving ferns. The fern I've laid on the cover has always been pressed between its pages - it's an ebony spleenwort from one of those excursions. I took the book off the shelf today to see if it had Herm's name in it -- it doesn't -- but that's his handwriting inside the back cover: a note about where the species on pg 112 -- the silvery spleenwort, Athyrium thelypteroides -- was to be found.

He was born in England in 1922, orphaned, and adopted by American parents. He died in 1977 of a sudden, massive heart attack in his sleep; we had spoken by phone the night before with no hint of any serious problem, though he had had heart issues for a number of years. Now, almost ten years older than he was when he died, I still think of him nearly every day, and when I'm in the woods I feel his presence; I've sometimes wondered if his was a soul that didn't depart but has always stayed here, whether as a protective spirit or simply because he loved the earth too much to leave. I should write more about him someday -- there are hundreds of stories -- but I'm not sure I will, or really want to.

This warped and water-stained book is precious to me because it's one of the very few mementos I have. I have only a couple of photographs, none particularly good. The first gift he ever gave me was a paperback copy of Aldo Leopold's Sand County Almanac; he also gave me a large book of American Wildflowers. But mostly we constantly brought each other interesting things we'd found: fossils, rocks, bones, wildflowers, feathers. Not long before he died, he showed up at my parents' home at the lake -- I had moved to New England -- with a couple of Iroquois arrowheads that he said he wanted to give my mother and me - he loved to roam the freshly-plowed fields by the Chenango River after work, and often participated in archaeological digs in the area, looking for artifacts. But that's it. The most important things were the intangible ways he helped me discover and be myself.

How would Herm feel about our earth today? I hate to even think about that question. He'd be happy for the strides we've made in sustainability, recycling, organic farming and local food, waste disposal, and certain resources that have been protected and cleaned up. He'd be sick about the decline of species, blatant disregard for biodiversity, about genetic engineering, continued pesticide overuse, and all the abuses of creationism and non-science -- but most of all about climate change. He would despise the politicians and their wars, deplore religious fundamentalism of all kinds, and be dismayed about the refugees. He'd also be sad to see that New York State has closed all their popular and well-attended environmental centers, which educated two generations of students and teachers, for lack of funds and, frankly, lack of political will and commitment.

So much of my art and spirit spring from nature, my first and purest love. In much of my work, I realize I'm simply trying to say "Look!" with the same wonder and appreciation I did when leading people on nature walks, years ago. I was in love with the natural world even when I was a little girl; my mother and grandmother and aunts loved the outdoors and knew a lot about it. But it was Herm who gave me greater knowledge, a voice, and new ways to communicate what was inside me, and what was important. I thought I wanted to be a field biologist myself, for a long time, but my creative side won out; that's fine. But there's so much work to do, and so little time left; I feel the urgency, and the call to try harder -- those of us who are still here.

 

The Vulnerable City: On Weather and the North

The province of Quebec, with Montreal at lower center; image from Google Earth. James Bay and Hudson Bay at top left, Gulf of St Lawrence at far right, center.

A storm is coming.

I walked to work today, knowing it may be the last chance for a few days to walk quickly and easily on bare sidewalks. The sky is grey, low; the temperature just below freezing; the air slightly damp and still. Even without a weather report, northerners like me would be likely to say, "feels like it's going to snow."

Along Avenue Mont-Royal, I passed the jewelry shop where the bare fingers of a white mannequin waited for their ten o'clock adornment; past the bakery, always closed on Mondays, the librairie with its window display of mandala coloring books and blank notebooks covered in Italian papers, and stopped in at the Intermarché to buy a can of tuna for lunch. At the light I turned left and walked up Papineau, a wide boulevard full of commuter traffic, past the earnest early-morning exercisers on their treadmills at EnergieCardio, and through a zone of abandoned buildings, boarded up and pasted with film posters. There was an empty lot filled with snow and faced by a chain-link fence and a tangle of city barricades, the sort that get put up when there's a street closure for a march or a race, each bearing a vertical sign with the city's name and logo. Suddenly - was it that unexpected expanse of snow? the slight but insistent wind that I'd begun to feel after turning north? --  I felt the city not as a self-contained zone of urban activity, but as a vulnerable fortress set in a wild, raw landscape surrounding it on all sides. I immediately thought of the early French settlers, building a literal fortress near the river, the walls of which still remain: while it may have protected them from angry Hurons it certainly didn't do much against the harsh winters, except to give the colonists a place to huddle together with some protection from the wind.

I thought of other cities I love: Reykjavik, with no defense but evacuation, should Katla erupt; Mexico City, surrounded by volcanoes and devastated by the huge earthquake in 1985; New York, deluged by hurricane Sandy and vulnerable to rising ocean levels. Human beings have tried so valiantly to protect themselves from outside threats, all through history, whether it's by making walls or vaccines. Here, in the big cities, there is an illusion, maintained by concrete and glass and steel -- the mountains and valleys of our own construction that we populate and animate by artificial light and constant movement -- that we are in control, that this, not nature, is the true reality. Perhaps it's an illusion easier to perpetuate in more populated areas with gentler climates, where an entire life can be lived without venturing into life-threatening wildness, or even driving through it. Are far-northern cities and societies different, I wondered? Why have Canada and the Scandinavian countries committed themselves to such a high level of social welfare for their citizens? Is it merely wealth, or does something else, perhaps more elemental, contribute to a collectivist mentality? An awareness, chilled into our bones, that beyond this outpost are the vast forest and frozen tundra, the bears and the wolves, the unchecked arctic wind, the iceberg sea?

The Air We Breathe

 A clear day, two years ago.

Mexico City's air quality has improved in the last two decades, but it is not exactly good. On clear days, the view from our hotel room included the mountains in the distance, but during this particular stay, that was an exception.

A typical recent day.

The city is at 7,000 feet, and fills the Valley of Mexico: once surely one of the most beautiful places on earth, surrounded by mountains including active volcanoes more than 17,000 feet tall.

Above, The Valley of Mexico from Del Rey Mill, by Jose Maria Velasco, painted in 1900. The Chapultepec castle is in the middle and the city itself is the small white expanse in front of the lake. Today the castle and its woods are a park, with the city extended all around them, over all the green space you can see in the picture above. Popocatepetl, on the right, erupted recently and has no snow cover at the present time.

Looking in the same direction on a pretty clear day, from the Torre Latinoamericana: nothing but city fills the entire valley.

--

For the first couple of days, travelers from lower altitudes, like us, generally experience some breathlessness, especially when walking fast, carrying luggage, climbing stairs. I don't usually have too much of a problem with that. But I was very aware of discomfort in my lungs, and found myself coughing. After a week, I came down with a respiratory flu. Whether it's something I picked up on the airplane, or in the crowded metro, I'll never know, but I'm convinced that my lungs were already struggling from the pollution. Now at home, a week later, I'm still ill but gradually getting better. Yesterday when I looked out of the airplane at the frozen fields of Quebec, I wasn't shuddering like many of my fellow passengers: I couldn't wait to take a breath of that cold, clean air.

I was on the street every day, both as a cyclist and pedestrian. Every day, trucks passed us belching black smoke, buses filled the air with diesel fumes, the highways were choked with car traffic. In our neighborhood and all through the city, many people work outside or in spaces that are open to the outdoors - there's no way they can avoid exposure to the air. The effects on everyday health must be devastating. I don't think I couldn't survive there, but for the 22 million citizens of Mexico City, there's no choice. What about all the people who live in the Maximum Cities of the world, and can't fly away to places with better air, let alone water and sanitation? I have a close friend in Beijing. She has no options in that very polluted city.

What I observed, and the fact of my own fragility, have made me think a lot this week about us as biological organisms, with simple needs for air, water, and nutrition: things the earth naturally provides in abundance. Most of the time, we don't even think of ourselves in this way - like a plant or a bird or a goldfish - so dependent are we on our technologies and the ways they keep us removed from and oblivious to the cycles of life. I've thought about what we are doing to ourselves and all the living things, and it's been more appalling to me than ever. Air to breathe: the most basic requirement of all, and yet for millions and millions of human beings, even this is impossible.

What do the indigenous people think? First the Spanish came and violently took away their land, massacred thousands of people, decimated their rich and highly-developed native culture, and converted the people to Christianity; then industrialization destroyed much of the natural world with which they had always lived in harmony. And now, many of the indigenous people are forced to come into the city for work, to sell their foods or handcrafts on the street, or worse yet, to beg. In Mexico as nearly everywhere, the darker one's skin, the more discrimination there is, the more menial the jobs, and the fewer chances for education and economic advancement. There's more than one way to suffocate, and unfortunately the people with the least power are always the ones who suffer the most.

As I hope is obvious, I love Mexico, and I don't mean to be negative - simply realistic about some of the very real problems that became even more obvious to me during this trip. The legacy of colonialism continues, and we have to look it in the face if there is ever to be a hope of addressing what we've wrought.

Road Trip 10: Vatnajokull/Skaftafell: Svartifoss and Stuðlaberg

In the morning, still dark and drizzly, we drove just a few miles from Hof (just off the bottom right of this map) to reach the access road for the Skaftafell wilderness in the Vatnajokull National Park. From the road, we could see the Skaftafellsjokull glacier lying in its valley beneath the giant glacial cap, across the sands and tundra:

The parking lot was full, and tour buses bound for glacier walks were loading, but not too many people were actually around. We went into the visitors' center to look at the trail maps, and get the lay of the land. It was pretty cold and raw, but some native Icelanders in their Lopi sweaters seemed to barely feel it. The Japanese, on the other hand were bundled up in parkas and high-tech rainsuits from top to toe.

Concerned about the weather, we decided to climb up to the Svartifoss waterfall first, and if we had time later, to take the flat trail that ends very close to the Skaftafellsjokull glacier. As it turned out, we only did the first hike, but were very glad we'd made that choice. So we headed out in the opposite direction of the people above, to the north and west, up the mountain.

The mountains are split with gorges, each of which seemed to contain numerous waterfalls, cascading off precipitous cliffs skirted by the trail, mostly without ropes or rails, only an occasional warning:

Once we'd gained some height, we could begin to really appreciate the extent of the glacial outwash plain below, so large that we couldn't really see the sea beyond.

Finally we got our first glimpse of Svartifoss, the Black Falls:

We drew closer.

From the bluff on the right near the falls, a trail led down to its base.

These astonishing rock forms are columnar basalt, which results when an unusually thick basaltic lava flow cools and cracks. It's such an iconic feature of Icelandic landscapes that  national poets have written about it, painters have painted it, and architects have emulated the five-and-six-sided columnar forms in their buildings. But before I saw Svartifoss, one of the most famous and dramatic examples of columnar basalt in the world, I hadn't recognized what I was seeing in less-dramatic places. In fact, one of the drawings I had done a couple of years before was of columnar basalt, but I didn't even know it. (Devil's Tower in Wyoming, and the Giant's Causeway in Ireland are other examples of the same geologic structure.)

From Svartifoss we continued to the left, up the mountain, on steps formed from sections of the basalt, which looked just like ancient ruins.

I found out something interesting when looking for references to the Icelandic Stuðlaberg which is their much more beautiful name for columnar basalt. The word Stuðlar means pillar-stone or basaltic pillar and stafr, which means approximately the same thing. The Old Norse alphabet, or Runic Alphabet, contained straight lines also called pillars or staves. Studul is a characteristic of old Norse song, referring to its rock-fast form that allowed it to be committed to memory. I should ask Language Hat for more about these word origins, in which the early words for these basalt pillars seem to have become terms for unchangeable, steady forms that gave structure to oral Norse poetry and in music. And guess what? Even Icelandic knitting patterns draw their inspiration and name from studlaberg; it's part of the bedrock of Icelandic consciousness. Once I had made the connection, through Svartifoss, I saw it everywhere.

Road Trip 4: a video near Eyjafjallajokull, and a corridor of waterfalls

First, let's backtrack to a video shot near Eyjafjallajökull. I'm hoping this may give you a better sense of scale than the still photographs do. (Best if watched full-screen.)

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After my early morning walk beneath the double waterfall at Kirkjubæjarklaustur, we ate our breakfast, and set off: we had a lot of driving to do that day and were determined not to stop too often. However, the landscape immediately changed yet again: we left the lava fields and volcanic cones behind, and entered an area of dramatically-sculpted green cliffs punctuated by tall, shimmering waterfalls. Captivated, we pulled off the road again and again to absorb some of this beauty. 

The quiet pastoral atmosphere I'd felt during my morning walk persisted until we reached the far western end of Öræfi, which is marked by an iconic mountain called Lomagnupur, a favorite subject of Icelandic painters. I hope to join their company soon.

Lomagnupur, looking east.

Here the scene changed yet again. We stopped at a long bridge, amazed...