Applying the story circle to academic writing

As an English teacher and an environmental writer, I love this!

Tom Houslay

Storytelling comes naturally to humans, but since we live in an unnatural world, we sometimes need a little help doing what we’d naturally do.

I’m a big fan of the work of Dan Harmon, writer of amazing tv shows like Community and Rick & Morty, and I’ve often heard him talk on his podcast (‘Harmontown’) about his ‘story circle’: a pattern to which most good stories conform.

The REAL structure of any good story is simply circular – a descent into the unknown and eventual return – and that any specific descriptions of that process are specific to you and your story.

The structure itself is pretty simple: a circle, divided and numbered as below, with each number representing a step on our journey.

Screen Shot 2016-02-05 at 13.08.31

  1. When you
  2. have a need,
  3. you go somewhere,
  4. search for it,
  5. find it,
  6. take it,
  7. then return
  8. and change things.

It got…

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The Story of Birds Brought to Life in a Brushstroke

Just one of the stunning illustrations by Jane Kim in the newly completed exhibit at the Cornell Lab Visitor Center.

Just one of the stunning illustrations by Jane Kim in the newly completed exhibit at the Cornell Lab Visitor Center. Photo courtesy of Jane Kim.

by Shauna Potocky

Artist Jane Kim’s hand crafted installation, “From So Simple a Beginning: Celebrating the Diversity and Evolution of Birds,” fills the largest wall of the Cornell Lab of Ornithology Visitor Center in Ithaca, New York. Also known as The Wall of Birds, it is a striking art and education exhibit, unprecedented in its scope and absolutely stunning to see and explore.

The extraordinary hand painted piece blends the realism of scientific illustration with the dramatic character of the birds it represents. Commissioned by Cornell Lab as a celebration of its centennial, the project features 270 species of birds. Each bird is painted to scale and the artwork brings 243 families as well as 27 ancestors and five recently extinct relatives, into focus. The work connects the evolution and diversity of birds while demonstrating their distribution world-wide.

The project took two and half years to complete, including 16 months of dedicated painting. Photo courtesy of Jane Kim.

The project took two and half years to complete, including 16 months of dedicated painting. Photo courtesy of Jane Kim.

This month, Jane Kim, creator of Ink Dwell, an art studio inspiring people to love and protect the natural world one work of art at a time, took a moment from her schedule to share some of the key highlights of the Cornell project—from its vision, content, and life size scale to Cornell Lab’s dedication and commitment to handcrafted artwork.

Through the commissioning of this one-of-a-kind project, Cornell demonstrated how much it values scientific illustration, the of blending art, science and engagement as a meaningful tool for education. In total, the project scope took two and half years to develop and complete, including 16 months of dedicated painting.

A close up view of the Great Hornbill. Photo courtesy of Jane Kim.

The Great Hornbill. Photo courtesy of Jane Kim.

Shauna Potocky:  This project is truly inspiring. What do you hope the project work conveys?

Jane Kim: The project is meant to convey the awe of how many birds there are in the world; it also demonstrates how remarkable it is that birds have diversified to such an extraordinary extent. To see two hundred families is remarkable, and they are life size, placed on a world map with relative scale, and viewable in one location.

SP: How can people see and experience the work?

JK: One of the best ways to see it is in person. Since it is featured inside the Cornell Lab Visitor Center, it can be viewed during normal visitor hours. In addition, Cornell is currently building a digital interactive that can be used to experience the wall and will be released in February 2016.  The interactive includes high-resolution images of every inch of the wall! This will allow viewers to zoom in to see the images—you will be able to see every brush stroke. It will allow viewers to select a bird, learn about it, and hear its call. One of the great features is that Cornell has the largest collection of sounds in the world.

SP: What was one of the most exciting aspects of the project?

JK: It is unprecedented—completing a hand painted mural of all the birds–it was such a large project and took so much time. Researching, learning the subjects, developing the work and then painting it. Cornell truly demonstrated that they value hand crafted murals and value the time it would take to complete such a piece. From start to finish it took two and half years and required 16 months of on site painting. Now the piece is bringing art and education to people and engaging them.

SP: What was the most challenging aspect of the project?

JK: The balance of art and science because there was a high demand for scientific accuracy. It was working with a high bar for accuracy and creating a portrait that captured the spirit of the bird. In addition, painting it so it can be viewed from all distances and still be viewed beautifully. The work needed to read beautifully in the interactive and from far away.

Jane Kim at work on the Wall of Birds, a project celebrating Cornell Labs centennial. Photo courtesy of Jane Kim.

Jane Kim at work on the Wall of Birds, a project celebrating Cornell Labs centennial. Photo courtesy of Jane Kim.

SP: Were there any species of birds that captured you, that perhaps you had not known previously?

JK: I didn’t know each bird, so every bird was a surprise. I enjoyed discovering fun facts like the Saddle-bill Stork (Ephippiorhynchus senegalensis) with the only difference between male and female being the color of the eye. So I made it a female, with a yellow iris. I tried to depict females as much as I could, since males are often showier and represented.

The North Island Giant Moa (Dinornis novaezealandiae) female is also depicted because they are the bigger sex. There was a time when it was thought that they were two species—one being a subspecies because of the size differences. Testing showed that the birds were the same, males were smaller, females were larger.

Fun behaviors are also represented, such as the Long-tailed Manakin (Chiroxiphia linearis) with its fun little mating dance. There are also Gouldian Finches (Erythrura gouldiae), a set of three because they have three different head colors, yellow, black and red, but they are the same species.

SP: How do you hope this work touches people?

JK: I hope it is inspiring to see, and I hope it is statement that demonstrates how Cornell values hand painted creations that can be inspiring and useful tools for education. I hope it also inspires people to ask a lot of questions and sparks a new generation of scientific illustrators—we need that. I hope it allows others to think big, take the time and make the effort.

Taking a step back to get a view of the scope and scale of the project. Photo courtesy of Jane Kim.

Taking a step back to get a view of the scope and scale of the project. Photo courtesy of Jane Kim.

In many ways “From So Simple A Beginning” is a remarkable gift—it celebrates 100 years of Cornell Lab’s work and endeavors for birds, while providing an unparalleled learning opportunity through quality artwork that also celebrates the profound and quiet power of scientific illustration—a field that is rarely discussed yet touches so many of our lives.

With the recent completion of “From So Simple a Beginning,” Jane Kim already has new projects in the works, including the next addition to the Migrating Mural—so stay tuned as we wait to see what her next projects and remarkable artwork have to teach us.

A Call for Writers and Visual Artists, Summer 2016

A female Blue Dasher (Pachydiplax longipennis) in the obelisk position. Some dragonflies assume this position to reduce the percentage of body surface area that is exposed to the sun, effectively cooling them. Copyright: Richard Telford, 2014

A female Blue Dasher (Pachydiplax longipennis) in the obelisk position. Some dragonflies assume this position to reduce the percentage of body surface area that is exposed to the sun, effectively cooling them. Copyright: Richard Telford, 2014

By: Richard Telford

The Connecticut Audubon Society is now accepting applications for the 2016 Edwin Way Teale Artists-in-Residence at Trail Wood program.  Applicants can submit their materials electronically or in hard copy. Through the program, inaugurated in 2012, Connecticut Audubon invites writers and visual artists, chosen through a juried process, to spend one week in residence at Trail Wood, the former home and private nature sanctuary of Pulitzer prize-winning naturalist writer and photographer Edwin Way Teale and his wife and collaborator Nellie Donovan Teale. The site is now the 168-acre Edwin Way Teale Memorial Sanctuary, bequeathed by the Teales to The Connecticut Audubon Society in 1980 shortly before Edwin’s death. Yankee Magazine in 2013 named Trail Wood as one of Connecticut’s two best nature sanctuaries—the other being Connecticut Audubon’s 700-acre Baflin Sanctuary in Pomfret, which is a ten-minute drive from Trail Wood.  Trail Wood still features many of the trails cut by Edwin and Nellie Teale shortly after their arrival in the summer of 1959.  These continue to be maintained by Connecticut Audubon Society. The sanctuary, per the Teales’ wishes, is open to the public from dawn until dusk year round.

Edwin Way Teale at work in his blind along Hampton Brook in Trail Wood, the private sanctuary in Hampton, Connecticut where he spent the latter part of his life. Used by permission of University of Connecticut Libraries, Archives and Special Collections.

Edwin Way Teale at work in his blind along Hampton Brook in Trail Wood, the private sanctuary in Hampton, Connecticut where he spent the latter part of his life. Used by permission of University of Connecticut Libraries, Archives and Special Collections.

One month after their move to Trail Wood, Edwin wrote in a July 6, 1959 journal entry, “We have the feeling here that whenever we look out the window there may be something exciting to see. Adventures lie all around us.”  Edwin, in his unpublished writings, often referred to Trail Wood as his and Nellie’s “Eden” and their “Promised Land.” He remained there until his death in 1980, and Nellie until hers in 1993. Judy Benson, a science journalist for The Day in New London, Connecticut, and a 2015 residency awardee, wrote a moving account of her experience at Trail Wood. Judy’s experience aptly reflects the unchanged power of the site to foster both contemplation and inspiration in the present time, as it did for the Teales decades ago.

Edwin’s site observations, as well as some of Nellie’s, are thoughtfully documented in the two books he wrote about Trail Wood, A Naturalist Buys an Old Farm (1974) and A Walk Through the Year (1978).  Program participants are encouraged to read one or both of these works in order to more fully understand the intent of this program, the site itself, and the important legacy of the Teales.  Alexander Brash, president of the Connecticut Audubon Society, notes, “The residency program keeps alive the spirit of Edwin Way Teale, who opened American’s eyes to the small beauties of the natural world and the importance of conservation through close observation and precise writing, both here at home in Connecticut and across the country in his travel books.” That awareness grows more important daily as we contemplate a future shadowed by a changing climate and a younger generation that is growing less and less connected to the natural world.

The view from naturalist writer Edwin Way Teale's cabin at Trail Wood, in Hampton, CT, the private sanctuary where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

The view from naturalist writer Edwin Way Teale’s cabin at Trail Wood, in Hampton, CT, the private sanctuary where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

Of special interest to visiting artists, the Thomas J. Dodd Research Center at the University of Connecticut houses Edwin’s private papers, including four 500-page journals he kept while at Trail Wood. A catalog of the Teale archive can be viewed here. Residency program staff can help arrange a visit to the archive prior to or during the residency period.  Trail Wood is open to the public but generally experiences moderate visitorship, allowing a solitary and contemplative experience conducive to the creative process.  Edwin’s writing cabin, which was recently restored, is available for use by resident artists.  The cabin, which overlooks a one-acre pond the Teales had dug in 1959, was built to match the dimensions of Thoreau’s cabin at Walden Pond.  It offered Edwin a working space removed from visitors and the telephone.

A male American Goldfinch (Carduelis tristis) eating petals of Daisy Fleabane (Erigeron annuus) less than ten feet from the author's back door. Copyright Richard Telford, 2012.

A male American Goldfinch (Carduelis tristis) eating petals of Daisy Fleabane (Erigeron annuus), one of host of bird species that can be observed at Trail Wood.  Copyright: Richard Telford, 2012.

While in residence, artists are encouraged to practice their craft in a way that is inspired both by the site’s natural beauty and its important role in American natural history writing.  The site contains diverse habitat, including mature eastern forest, abandoned pastureland, a three-acre beaver pond, a year-round running brook, and lowland swamps. The site offers excellent birding opportunities, with 88 species having been identified in the sanctuary.  Edwin’s writing study in the main house is still preserved exactly as it was at the time of his death in 1980, per Nellie Teale’s wishes, and CAS staff can provide visiting artists with access to it.  Presently, residencies are scheduled only for the summer months.  With planned further restoration of the Teale home, an 1806 center-chimney Cape Cod, The Connecticut Audubon Society hopes to expand the residency offerings to a year-round schedule in future years.

After the completion of the residency, participating writers and visual artists are invited to attend a follow-up event, Trail Wood Under the Harvest Moon, held annually on-site in September.  At this event, each resident artist is asked to read or present a sample of work completed during the residency and to speak briefly about the residency experience itself. This work can be in process. The residency application can be found here. It provides further explanation of the program and an overview of its logistics. Inquiries about the program can be sent to the program’s coordinator, Connecticut Audubon volunteer Richard Telford, who can be reached at rtelford397@gmail.com. He has published a series of articles on or related to Edwin Way Teale and Trail Wood at the Ecotone Exchange, and these articles, available here, may provide helpful background for prospective applicants.

Can We Save the Botany Degree?

Fall ferns at the Trail Wood Sanctuary in Hampton, CT, the former home of naturalist writer Edwin Way Teale. Copyright: Richard Telford, 2015.

Fall ferns at the Trail Wood Sanctuary in Hampton, Connecticut, the former home of naturalist writer Edwin Way Teale. Copyright: Richard Telford, 2015.

By Richard Telford

On October 17, 1959, less than six months after moving to Trail Wood, the beloved private nature sanctuary where he would spend the rest of his life, American naturalist writer Edwin Way Teale wrote the following entry in his private journal:

We are presented with life memberships in the Baldwin Bird Club and   given a fine vasculum for collecting plants. So we round out our long association with this nature group—over a period of more than 20 years.  Now we ‘have other lives to live.’  We watched them go with thankfulness in our hearts that we could stay.

I first read this passage two summers ago while researching Teale’s early days at Trail Wood with the generous support of the University of Connecticut, where Teale’s papers are permanently housed in the Thomas J. Dodd Research Center. At the time, I was examining the extraordinary transformation that occurred in the lives of Edwin and his wife and collaborator Nellie with their move to Trail Wood, a site Edwin would subsequently declare to be “our Promised Land” (September 8, 1959). Teale chronicled this transformation in The Hampton Journal, 1959-1961, the first of four 500-page unpublished observation journals he kept at Trail Wood over a period of twenty-one years.

The vasculum presented to Edwin and Nellie Teale by the Baldwin, Long Island Bird Club in 1959, celebrating the Teales' arrival to Trail Wood. Copyright: Richard Telford, 2015.

The vasculum presented to Edwin and Nellie Teale by the Baldwin, Long Island Bird Club in 1959, celebrating the Teales’ arrival to Trail Wood in Hampton, Connecticut. Copyright: Richard Telford, 2015.

Before moving to the next entry in the journal, I completed a quick Google search for “vasculum,” a word with which I was wholly unfamiliar. In this context, I found, it referred to a tin box used to collect plant specimens. A quick image search yielded two predominant groups of vascula: those of a utilitarian kind, painted in various shades of olive drab; and those of a decidedly aesthetic bent, identical in construction but tole-painted with intricate designs or featuring scenes of nature or idealized Victorian children engaged in nature study. Most examples appeared dated to the late nineteenth and early twentieth centuries, a period when the popularity of amateur nature study was at its apex.  Quick searches of eBay and Amazon yielded a handful of antique vascula for sale but no new examples. Even the Carolina Biological Supply Company yielded a dead end. This surprised me. How, I wondered at the time, could the need for some kind of specimen case for botanical collecting have simply evaporated? The question lingered, but, pressed for time to complete my reading of The Hampton Journal, I abandoned this research side trail and returned to the Teales’ early life at Trail Wood.

Shelf fungi on a mature hickory along The Lane at Trail wood, the former home of naturalist writer Edwin Way Teale. In the background two problematic invasive species are visible, oriental bittersweet and burning bush. Copyright: Richard Telford, 2015.

Shelf fungi on a mature hickory along The Lane at Trail wood, in Hampton, Connecticut, the former home of naturalist writer Edwin Way Teale. In the background two problematic invasive species are visible, oriental bittersweet and burning bush. Copyright: Richard Telford, 2015.

Recently, however, I felt compelled to revisit this side trail after reading a slew of articles about the precipitous decline of formal botany study at the collegiate level. Allie Bidwell, writing for U.S. News and World Report, for example, cites a study completed by the Chicago Botanic Garden and Botanic Gardens Conservation International, which found that, in 1988, “[…] nearly three-quarters of the nation’s top 50 most funded universities offered advanced degree programs in botany. But by 2009, more than half of those universities eliminated their botany programs.” The study further found that the number of undergraduate and graduate botany degrees conferred during that time declined by 50% and 41% respectively. An article published by Great Britain’s Royal Horticultural Society in its magazine, The Garden, declared in a January 2012 headline, “Death knell sounds for botany degrees.” The article’s author, Sally Nex, noted the planned closing of the botany degree program at the University of Bristol in 2013, the last program of its kind in Great Britain. Has the study of botany nearly vanished from university campuses? Not exactly. It has, however, largely been shifted to a place under the degree umbrella of Ecology and Evolutionary Biology, and such a shift necessarily dilutes the study of any highly specialized field to a handful of elective courses at best.

The writing cabin of naturalist writer Edwin Way Teale, located on the one-acre pond below the main house at Trail Wood, the private sanctuary where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

The writing cabin of naturalist writer Edwin Way Teale, located on the one-acre pond below the main house at Trail Wood, in Hampton, Connecticut, the private sanctuary  where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

This past summer, while I was orienting a visiting artist to Trail Wood as part of the Edwin Way Teale Artists in Residence Program, I entered Teale’s writing cabin, which was built on the edge of the one-acre Hidden Pond the Teales had drilled in 1959 not long after their arrival. The writing cabin, built to match the dimensions of Thoreau’s cabin at Walden, provided Edwin a place to isolate himself from the stream of visitors, often uninvited, and the telephone. The Connecticut Audubon Society completed a restoration of the cabin last summer so that visiting artists could, as Edwin had, have a place for quiet study and contemplation. As I entered the cabin, I spied an olive drab, semi-cylindrical metal case with a steel strap loop at either end. I knew immediately what I was looking at, and a set of pressed plastic labels on the lid of the case confirmed my suspicion. They read: Edwin and Nellie Teale/The Baldwin Bird Club/1959. It was a deeply moving moment for me, the kind I so often have when reading Teale’s private journals; in this case, the entry I had read the previous summer seemed to materialize before my eyes, and I stood silent for some time.

A close-up shot of the label of the vasculum presented to Edwin and Nellie Teale by the Baldwin, Long Island Bird Club in 1959. The presentation celebrated the arrival of the Teales to Trail Wood, their private sanctuary in Hampton, CT. Copyright: Richard Telford, 2015.

A close-up shot of the label of the vasculum presented to Edwin and Nellie Teale by the Baldwin, Long Island Bird Club in 1959. The presentation celebrated the arrival of the Teales to Trail Wood, their private sanctuary in Hampton, Connecticut. Copyright: Richard Telford, 2015.

Seeing the Teales’ vasculum that midsummer afternoon, I thought back to my research side trail of the previous summer; to the absence of new vascula for sale; to the decline of botany; and finally to Edwin Way Teale’s declined legacy, which I have written a good deal about over the last two years. All of these phenomena, and a host of others, are linked by a common thread: our epidemic disengagement from the natural world, and our immersion in a virtual and often vacuous and unsatisfying one. While the decline in collegiate botany study may in part be explained by the greater financial earning power of other specializations, a factor cited in some articles on the decline, this answer simply is not adequate. A study completed by Kathleen Wallace of Washington and Lee University found that, during the same period that botany study precipitously declined, the number of students declaring philosophy and religious studies majors increased by 153%, exceeded notably by declared visual and performing arts majors, a group which increased by 293%. These latter fields are hardly seen as having high earning potential, yet they have experienced significant growth. Thus, the financial argument against botany study, with its high earning potential in the pharmaceutical and agricultural sectors, among others, seems dubious.

The view from naturalist writer Edwin Way Teale's cabin at Trail Wood, in Hampton, CT, the private sanctuary where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

The view from naturalist writer Edwin Way Teale’s cabin at Trail Wood, in Hampton, Connecticut, the private sanctuary where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

I am convinced, instead, that we have largely lost the capacity to appreciate exhaustive hours of patient observation, to find wonder in complex and always-evolving taxonomical systems and the larger contexts they inhabit, to see ourselves as just one component in a marvelously complex system of life, and to understand that our wellbeing is inextricably linked to the wellbeing of that system as a whole, with no part of that whole being insignificant. It is to these lost capacities, in my view, that botany study is succumbing, as the field of natural history did before it, only the pace seems accelerated, just as the pace of the world around us, speaking societally, likewise does. In his 1948 book Days Without Time, Edwin Way Teale writes, “The centrifugal force of civilized life draws us out thin, stretches us to the ultimate of our resiliency. Days out-of-doors give us release. They permit us to contract back to the center of life.” More and more we feel drawn thin, but do we, societally, still have the capacity to seek out that “center of life,” or even to realize how desperately we need to do so?

For a variety of reasons, the loss of botany study, and, for that matter, the loss of any area of specialized scientific study, should ring alarm bells for us. In practical terms, botany study, in light of the accelerated pace of anthropogenic climate change, grows more critical daily, as we seek, for example, to address food scarcity while trying to mitigate the environmental impact of industrial agriculture. Botanical knowledge is likewise an essential component of land and resource conservation, as well as ecological restoration. Mapping botanical changes in the coming years will help us to understand and, hopefully, respond effectively to climate change, but who will be equipped to do this if the current trend continues? Finally, the pharmacological applications of botanical sources, even in the present time, are staggering in scope and number, and their collective effect on public health cannot be fully quantified here. We must consider, as well, that the sheer volume of these applications is likely exceeded by those we have not yet discovered, but, if the pipeline of future botanists is slowed to a trickle, who will make these discoveries? Who will suffer in their absence?

A corner of naturalist writer Edwin Way Teale's study at Trail Wood, in Hampton, CT, the sanctuary where he spent the last 21 years of his life. Atop the shelf sits a stack of pressed botanical specimens believed to have been collected at the site. Copyright: Richard Telford, 2015.

A corner of naturalist writer Edwin Way Teale’s study at Trail Wood, in Hampton, Connecticut, the sanctuary where he spent the last 21 years of his life. Atop the shelf sits a stack of pressed botanical specimens believed to have been collected at the site. Copyright: Richard Telford, 2015.

As part of the bequeathal of Trail Wood to the Connecticut Audubon Society, Nellie Teale, who outlived Edwin by thirteen years, requested that Edwin’s study in the main house be preserved exactly as it was at the time of his death in 1980, and CAS has honored this request. In a corner of the study, at the intersection of two bookshelves, there is a large, bound stack of plant pressings done by the Teales, presumably at Trail Wood. These have not been examined, out of concern over their fragility and the fear that poor handling could destroy a wealth of botanical knowledge of the site. Still, in ten to twenty years, who will have the training to handle these specimens or the knowledge to understand their significance? Amplify the concerns for the long-term preservation and use of this small, site-specific collection to the challenges faced by large-scale, institutional herbaria, and it further highlights the dire implications of a wide-scale loss of formal botanical study. It is a crisis on many levels, but it is not an irreversible one.

The single most critical step needed to avert the full demise of botany as a specialized branch of study at the collegiate level is the incorporation of more substantive botany curricula from the earliest days of primary schooling through the final days of secondary schooling. This curricula should follow best practices in environmental education, many of which revolve around direct engagement of the learner with the study subject. Children need to get outside, loupe and field notebook in hand. It is not enough, however, to simply drop them into a lush botanical landscape. Instead, they must be immersed in age-appropriate field work that connects them to their subject. As children grow older, this field work can and should be aimed at identifying problems and positing solutions. It might involve ecological restoration or the completion of a flora survey with a specific goal. It must, at all levels and in all tasks, contextualize the study subject to the greater whole of the natural world and to the individual learner as well.

Two of the author's children sitting on the steps into naturalist writer Edwin Way Teale's writing cabin at Trail Wood, in Hampton, CT, where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

Two of the author’s children sitting on the steps into naturalist writer Edwin Way Teale’s writing cabin at Trail Wood, in Hampton, Connecticut, where Teale spent the last 21 years of his life. Copyright: Richard Telford, 2015.

We can likewise engage our own children in botany study, filling the inevitable gaps of a public education system burdened with manifold demands from as many parties. Should we consciously drive them toward careers in botany? Not necessarily. However, we can and must instill in them the value, the wonder, and the joy of close study of natural phenomena. We must aim to show them, firsthand, the interconnectedness and the interdependency of the complex life system of which we are only a small, though disproportionately influential, part. Though the potential demise of formal botany study has garnered much recent attention, it is only a symptom of a larger ailment rooted in a set of societal norms that value speed over deliberateness, gratification over patience, answers over inquiry.  It seems inevitable that other fields of study are following or will follow a similar trajectory, driven by like forces. However, we can change that trajectory through the actions outlined above and others. Doing so will require a significant shift in thinking, but that shift can be driven by the realities of anthropogenic climate change that demand it. That shift, while helping to address those harsh realities, can also reawaken in us the joy and wonder that we so easily lose in the flurry of our days. And thus we win on two counts, neither of which can we afford to lose.

The author wishes to thank the staff of the Thomas J. Dodd Research Center at the University of Connecticut, where the papers of Edwin Way Teale, including his private journals kept at Trail Wood, are permanently housed and generously made available to the public.  The author likewise wishes to thank the staff of the Northeast Programs office of the Connecticut Audubon Society for providing full access to Edwin Way Teale’s home and writing cabin.

Refuge, Wilderness and Restoration After the Trauma of War

K Bay from Homer SPotocky

Just one of Homer, Alaska’s stunning views. Photo by Shauna Potocky.

By Shauna Potocky

Volcanoes rise out of the mist and gray mirror of the Alaskan sea as the arrival of Fall storms bring rain and cold winds. Born out of the Ring of Fire, islands form the volcanic chain of mountains and ridges that define the West Coast of Alaska and make up the Aleutian Islands, which provide remote habitat for an impressive number of birds and marine mammals.

Alaska’s coastline, including the Aleutian Islands, provides an impressive array of opportunity for a diverse range of species. From mudflats to rugged rocky outcroppings, sandy beaches or cobbled shores, the diversity of landscapes are as engaging as the animals found upon them. Some of these areas are easy to visit while others are incredibly remote, yet all of it comes to life through the story of its conservation.

As recognizable as this landscape is on the map, and as remote as much of it may be, what might be more elusive is the story of its protection. Much of the Aleutian Islands as well as significant amounts of Alaskan coastline are protected and designated as the Alaska Maritime National Wildlife Refuge. Its story steeped in lore, history and war comes to life at the Alaska Islands and Ocean Visitor Center and Refuge headquarters in Homer, Alaska—a town famously known for being “at the end of the road.”

Alaska Islands and Ocean Visitor Center close up SPotocky

The Alaska Islands and Ocean Visitor Center located in Homer, brings the story of the Alaska Maritime National Wildlife Refuge into incredible focus for visitors. Photo by Shauna Potocky.

It seems timely to revisit the story of the refuge, particularly the Aleutian Islands, because as the world faces war and human displacement today. This story serves as an important reminder of what war does, and how in the face of conflict wildlife and the environment become remarkably vulnerable and often go unprotected. The story of the Alaska Maritime National Wildlife Refuge demonstrates what can be accomplished once all the turmoil ends.

The great islands that make up the Aleutian chain and other areas of the current refuge were first utilized and inhabited by people for what is estimated to be over 11,000 years ago. Today, a rich diversity of first peoples, including the Inupiat, Yup’ik, Unangan, Aleut, Dena’ina Athabascans, Alutiiq Koniag, Haida and Tlingit, continue to be deeply connected to this landscape. Their lives are filled with the knowledge of specialized skills, culture, and stories of this unique place.

Beginning in the late 1700s, expanding into the 1800s, these people were affected or displaced by an insurgence of Russian fur hunters. Russian settlements were focused on resource extraction and, once established, their skills and appetite, fed by the fur trade, depleted the area of several marine mammal species, resulting in an awaking.

Fox fur and trap SPotocky

Non-native species, such as foxes, were introduced to the islands, resulting in significant impacts to native species. Foxes were introduced in order to establish and grow fur trading operations and are a significant part of the story on display at the visitor center.  Photo by Shauna Potocky.

Due to the decline of sea otters and other marine mammals, Russians began restricting areas for hunting, essentially setting up refuge areas in order to assure the survival of species they depended on.

In 1867, Alaska was purchased from Russia by the United States. American hunting, development and extraction ensued. Over the course of generations, Alaska was opened for exploration, hunting, fur trade and adventure.

Then something unbelievable unfolded—an event that would mark a moment in time and the world’s history.

In 1942, during World War II, the Japanese began a campaign to take the Attu and Kiska Islands of the Aleutian chain. This followed actions in defiance of a fur hunting treaty and escalating tensions. Once the insurgence began it displaced island populations and included taking a number of native people hostage. This conflict launched the Aleutian Campaign in which Allied troops and military operations ensued on the islands and in the surrounding areas. The islands were horribly affected. Island populations were displaced, communities destroyed, bombs and ammunition rounds unleashed, military operations and encampments established, while contaminants and military waste were discarded and left behind after the war effort.

In the end, the landscape and islands were left ravaged and damaged, scarred with the remnants of bombshells and littered with abandoned waste. They stood in disarray; masses of twisted metal, discarded ammunition, contaminants and a newly raw history of war lay in its wake.

War items on exhibit SPotocky

Remants of war on display at the Alaska Islands and Ocean Visitor Center. Photo by Shauna Potocky.

In Alaska the tides are dramatic—a deep pulling out and heaving in, over great distances and heights, similar to a great pendulum swing. Just as remarkable as the tide and its swift sweeping change, the future of this landscape began to emerge into something new, something with wider protections and a future. In the end, something positive is emerging out of the turmoil.

Wildlife refuges and wilderness areas protected significant tracks of land and habitat along the coastline of Alaska. In 1980, via the Alaska National Interest Lands Conservation Act (ANILCA), signed by President Jimmy Carter, astounding areas of Alaska’s protected lands, along with newly protected areas, including the Aleutian Islands, were consolidated and established as part of the Alaska Maritime National Wildlife Refuge.

Refuge view in Homer SPotocky

Located at the base of the visitor center is a small wildlife refuge area that allows visitors to see the land-sea connection. Photo by Shauna Potocky.

In total the refuge encompasses approximately three million acres, with a mission to conserve habitats and species, manage international treaties related to the habitats and species, as well as provide for local subsistence. The refuge is also used to conduct scientific research and maintain water quality in ways that support the primary role of the refuge.

Today, people carrying out the mission of the refuge are working to repair the damage, specifically on islands that have been touched by fur trade or war. There is significant work being done to remove invasive species, such as rats and foxes, that were introduced to the islands. These introduced species out-compete, destroy and kill native species by eating the eggs of nesting birds, killing young and upsetting the balance of an ecosystem that initially developed without the presence of land-based predators.

Exhibit displays SPotocky

Exhibits bring the story, restoration, research and habitats to life for visitors. Photo by Shauna Potocky.

In addition, the United States Fish and Wildlife Service is focused on removing contaminants as well as accumulations of waste and debris that were left on the islands during wartime.

Today, the incredible acreage of the Alaska Maritime National Wildlife Refuge protects diverse habitat for millions of seabirds and an wide array of marine mammals, while doing something even bigger. With respect to the Aleutian Islands, it serves as an example of what protection, restoration and conservation can look like after truly troubling times. It proves that war is not the end.

Intertidal display SPotocky

Detail of intertidal display in the Alaska Islands and Ocean Visitor Center. Photo by Shauna Potocky.

What the refuge represents to me is that after the conflict is over, when the heartbreak and battles are done, we can choose to pick up the pieces and do something bigger, do something positive. We can take all that seemed broken and left behind, the battle scars, the waste, the heartbreak of war and repair it. Collectively and carefully, damaged landscapes can once again become incredible habitat or a place people can feel comfortable calling home.

Discovering the North American Pawpaw Tree, Asimina triloba, (Sort of)

Fruit of the North American pawpaw tree (Asimina triloba) in the author's pawpaw patch. Copyright 2015, Richard Telford

Fruit of the North American pawpaw tree (Asimina triloba) in the author’s pawpaw patch. Copyright 2015, Richard Telford

By Richard Telford

The powerful forces of forest succession threaten always to engulf the 18th-century stonewalls that surround our 1770 center-chimney farmhouse. During the restoration of the house, we largely gave up trying to stem the encroachment of the surrounding forest. However, several years ago, we began in earnest to work to control that encroachment, in great part due to an alarming increase in the number of Lyme ticks in our yard, which resulted in two of our three children being positively diagnosed with Lyme disease. Reducing moist, shaded areas along the edge of a yard through tree cutting, in conjunction with short-cropping the grass and the removal of leaf litter and other detritus, is a critical component in the war on Lyme ticks (Ixodes scapularis) that has become critical to country living in the northeastern United States. I have previously written about the Lyme disease crisis—a word I don’t use lightly.

This past spring, I began cutting back saplings, creating a ten- to twenty-foot buffer along the outer edges of our stonewalls. At the same time, I began clearing and grass-seeding the inner buffer of the wall that separates our front yard from the road. When I first bought the house in 2003, I had noticed a small stand of trees along that wall that looked to be some kind of tropical ornamental that could survive New England winters. This seemed likely, given the line of Japanese maple trees (Acer palmatum) that lined the eastern edge of the yard. The stand on the south road-edge featured alternate broad leaves as long as sixteen inches stem to tip. They seemed conspicuously out of place amidst the maples, hickories, oaks, birches and elms that, along with eastern white pines and hemlocks, define the surrounding forest. Though I had often intended to identify this tropical oddity, I had not done so by this past spring. In the effort to clear the front wall, I began to cut the stand down, and, at the same time, began limbing an adjacent venerable eastern white pine, also a major shade source.

In the spring of 2014, to celebrate the arrival of our third child, a friend had given us a gift certificate for the annual native plant sale offered by the Eastern Connecticut Conservation District. As we mulled over the catalog choices, a particular fruit tree caught our attention, the North American pawpaw (Asimina triloba), which was purported to produce a fruit similar in appearance to bananas but with a flavor and texture more akin to mango. We were intrigued and initially decided to buy a bucket sapling. We reconsidered, however, for two reasons. First, owing to years of successional encroachment, we lacked a light-sufficient, open space in which to plant it. Second, the catalog noted that pawpaw flowers produce an odor similar to that of rotting meat. With conjured visions of a tree that mimicked, albeit on a smaller scale, the most famous of the “carrion flowers,” Titan arum (Amorphophallus titanum), we were reticent to plant one too close to our house and opted instead for a group of native butterfly attractors.

In both the foreground and the background, young pawpaw saplings rise near the trunk of a mature tree, demonstrating the pawpaw's tendency to reproduce quickly, forming large patches. Copyright 2015, Richard Telford

In both the foreground and the background, young pawpaw (Asimina triloba) saplings rise near the trunk of a mature tree, demonstrating the pawpaw’s tendency to reproduce quickly, forming large patches. Copyright 2015, Richard Telford

Fast forward to the early summer of 2015. Having cut about half the trees of the unidentified exotic stand along our front wall, I began to rake out the carpet of leafy detritus and natural mulch that had built up beneath them over decades, unearthing the fragmentary evidence of former property owners: assorted canning jar fragments and several rusted lids, old nails, an 80s-vintage orange foam Big Mac box, assorted hardware encrusted in rust, and, most interesting of all, a faded but still-legible plastic plant nursery tag that offered the life history of and planting tips for the pawpaw tree. The light went on. Gathering a handful of brown, nickel-sized seeds scattered among the leafy debris—mystery seeds that I had noticed every fall but never investigated—I went in the house and completed a quick Google image search for “pawpaw seeds.” With that first search confirming what I expected to see, I completed subsequent searches: “pawpaw leaf,” “pawpaw flower,” “pawpaw bark,” each subsequent search adding additional confirmation. We were the proud owners of a substantial pawpaw stand, more commonly referred to as a pawpaw patch, half of which I had just cut down.

John James Audubon's rendering of a male and female yellow-billed cuckoo (Coccyzus americanus) in a North American pawpaw tree.

John James Audubon’s rendering of a male and female yellow-billed cuckoo (Coccyzus americanus) in a North American pawpaw tree.

Despite my own ignorance of the pawpaw as a native North American tree, according to an article by José I. Hormaza, published by the Arnold Arboretum at Harvard University, its presence in North America was documented as early as 1541 by a member of the De Soto expedition. Hormaza likewise notes that members of the Lewis and Clark expedition relied almost entirely on wild pawpaw fruit for subsistence over several days in September of 1806. In his book Pawpaw: In Search of America’s Forgotten Fruit, Andrew Moore writes of the cultivation of pawpaw trees by several Native American tribes in the pre-Columbian era, noting that tribe members “carrying seeds in satchels rather than their stomachs” likely replaced the traditional dispersal of pawpaw seeds by then-extinct prehistoric megafauna. John James Audubon, in The Birds of America (1827-1838), features the yellow-billed cuckoo (Coccyzus americanus) in the context of a detailed rendering of an insect-damaged pawpaw tree with a cluster of overripe fruit. Hormaza likewise notes that Thomas Jefferson cultivated pawpaw trees at Monticello and even sent both seeds and plants as official ambassadorial gifts to France in the late 18th century. Still, the pawpaw, as suggested by Andrew Moore’s book title, seems largely to have fallen victim to obscurity in the American public consciousness. So perhaps it should not be surprising that I could step out my front door for thirteen years, look directly at our pawpaw patch, even admire its downward-facing crimson flowers in spring, and remain ignorant of its natural history. Still, I am a bit surprised given my predilection to wanting to be able to identify the species of all kinds that occupy our woods.

A pair of pawpaw fruit deep within the branches of mature tree in the author's patch. Copyright 2015, Richard Telford.

A pair of pawpaw fruit deep within the branches of mature tree in the author’s patch. Copyright 2015, Richard Telford.

This summer, with our pawpaw patch thinned and the pine boughs that once shaded it cut back, the more mature of our trees have produced a respectable fruit crop. As I write this, it is still too early to harvest them, but we are eager to do so in mid to late October. They certainly produced fruit in other years, as evidenced by the seeds we would turn up in our fall raking, yet never once did we notice the fruit that followed the spring flowering. This is certainly due in part to the color of the fruit being, at least in our specimens, nearly identical to their leaf color. Even now, with our new awareness, it takes careful looking to see most of the fruit. Still, our failure to see the fruit of previous summers is also just as certainly a product of the fact that we as human beings, collectively speaking, often simply do not see what we are not looking for. And I am reminded in all of this that our minds can always be more open, our senses keener, our curiosity stronger. Natural history writer Edwin Way Teale, in his 1937 book Grassroot Jungles, notes, “Among the tangled weeds of the roadside or in the grassroot jungles of your own back yard, you encounter strange and incredible forms of life.” He later notes, “The more we know, the more we see; our adventures increase with knowledge.” When we are suddenly struck by our lack of such knowledge, as I was with my “discovery” of our pawpaw patch, we can be critical of our own ignorance, or, instead, we can be grateful for the rich and unquantifiable range of knowledge that is offered to us by the natural world. I choose the latter.

Harapan the Hairy Rhinoceros (and Hero!)

There are only about 100 Sumatran rhinos, also called Hairy rhinos, left in existence and only nine of them are cared for in captivity. Of those nine, there is only one that lives outside of Southeast Asia. This special guy is Harapan, affectionately known as Harry and who in 2007, was the third of three calves born at the Cincinnati Zoo over six years.

Even more remarkable are the additional successes of the Cincinnati Zoo’s Center for Conservation & Research of Endangered Wildlife (CREW). In 1984, a captive breeding program began but there was no success until 1997, when CREW scientists began using endocrinology and ultrasonography to learn about the reproductive physiology of Sumatran rhinos. Ultimately, this resulted in the first Sumatran rhino calf bred and born in captivity. Harapan’s older brother Andalas was born on September 13, 2001. In 2004, his sister Suci was born. Unfortunately, Suci passed away in 2014 after a prolonged illness that was aggressively treated by staff and veterinarians for months. Suci had hemochromatosis, which is the same condition to which her mother succumbed. Hemochromatosis is an iron storage disease that is known to be inheritable in humans. It likely is inheritable in rhinos also.

In 2007, the Cincinnati and Los Angeles Zoos (where Andalas was living) agreed to send Andalas to the Sumatran Rhino Sanctuary, a breeding facility in the Way Kambas National Park of Indonesia, to replace an old, infertile bull. In 2012, a healthy son was born to Andalas in Sumatra.

Andalas nudging Ratu Photo by B. Bryant, Taronga Conservation Society, Australia

Andalas nudging Ratu
Photo by B. Bryant, Taronga Conservation Society, Australia

This month, the Cincinnati Zoo announced that Harapan will be moved to Indonesia. He is sexually mature and his opportunity to breed and contribute to his species’ survival exists only at the Sumatran Rhino Sanctuary. There are three possible mates awaiting Harry’s arrival.

Listed as Critically Endangered on The International Union for Conservation of Nature and Natural Resources Red List of Threatened Species, the Sumatran rhino is the smallest and last form of the Two-horned hairy rhinos that have lived on the planet for 20 million years. Between 1985 and 1994, a total of 40 rhinos were captured for captive breeding including the seven and three sent to the United States and United Kingdom, respectively, from areas converted to plantations.

The historic range for Sumatran rhinoceros is from the foothills of the Himalayas in Bhutan and north-eastern India, through southern China (Yunnan), Myanmar, Thailand, Cambodia, Lao PDR, Viet Nam and the Malay Peninsula, and onto the islands of Sumatra and Borneo in Indonesia.

Sumatran range map courtesy of The International Union for Conservation of Nature and Natural Resources.

Sumatran range map courtesy of The International Union for Conservation of Nature and Natural Resources.

Hairy rhinos live in tropical rainforest and montane moss forest, mainly in hilly areas near water sources. Males are primarily solitary, but can have overlapping territories with females, which are commonly found with their young. Their lifespan is estimated at about 35-40 years, gestation length of approximately 15-16 months, and age at sexual maturity estimated at 6-7 years for females and 10 years for males.

Significant threats to survival of this species include poaching and reduced population viability. Hunting is primarily driven by the demand for Traditional Asian Medicine that erroneously believes that rhino horns and other body parts have medicinal qualities. Centuries of over-hunting has reduced this species to a tiny percentage of its former population and range. As a result, breeding activity is infrequent, successful births are uncommon in many populations, and there is a severe risk of inbreeding. These circumstances necessitate this big move for Harry, who is symbolic of decades of cooperative conservation efforts among many dedicated scientists in multiple zoos.

Harapan is the only Sumatran rhino on view to the public anywhere in the world. Zoo visitors can find him in Wildlife Canyon daily from 9 a.m. – 12:30 p.m., weather permitting, until he leaves for Indonesia, the date for which has not yet been determined.