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.

Reviving John Burroughs’ “Silent Throngs”

The dawn light illuminates the surface of Hampton Brook where it runs through Trail Wood in Hampton Connecticut. Photo by Richard Telford, Copyright 2015

The dawn light illuminates the surface of Hampton Brook where it runs through Trail Wood in Hampton, Connecticut, near the site of Edwin Way Teale’s long-time observation blind. Photo by Richard Telford, Copyright 2015

By Richard Telford

The cover image for Hal Borland's 1979 book Hal Borland's Twelve Moons of the Year.  From the author's collection.

The cover image for Hal Borland’s 1979 book Hal Borland’s Twelve Moons of the Year. From the author’s collection.

At a recent library sale held at my daughter’s school, I bought a discarded copy of Hal Borland’s Twelve Moons of the Year.  The 1979 book, a posthumously published selection of Borland’s natural history editorials printed in the Sunday New York Times from 1941 until his death in 1978, brims with keen observations rendered in concise, poetic language.  Twelve Moons is organized in almanac format, with 365 dated entries that follow the course of one year.  It is reminiscent of Donald Culross Peattie’s An Almanac for Moderns (1935) and Edwin Way Teale’s A Walk Through the Year (1978).  On January 1st, Borland writes of “The glint and glitter of frost crystals in the air, dancing like motes of diamond dust in the sunlight.”  On June 1st, he tells us how “The wonder of new beginnings is everywhere, in the dew-wet grass, in the breeze-shaken leaves, in the shimmering spider web and the night-washed faces of buttercup and wild geranium.”  He adds, “The world is hushed and waiting.”  The start of September, Borland confides, “is August ended, October inevitable, summer’s ripeness and richness fulfilled […].”  When the year ends on December 31st, Borland notes that “the seasons overlap the arbitrary divisions we make, and year’s end is neither an end nor a beginning but a part of the infinite whole.”  The relegation of this poignant volume to the discard table reminded me that authors, too, have their seasons.

John Burroughs, in his 1902 book Literary Values and Other Papers, offers a moving assessment of the effects of time’s passage on the authors of any generation:

The day inevitably comes to every writer when he must take his place amid the silent throngs of the past, when no new work from his pen can call attention to him afresh, when the partiality of his friends no longer counts, when his friends and admirers are themselves gathered to the same silent throng, and the spirit of the day in which he wrote has given place to the spirit of another and a different day. How, oh, how will it fare with him then? […]. The new times will have new soul maladies and need other soul doctors. The fashions of this world pass away—fashions in thought, in style, in humor, in morals, as well as in anything else.

Holding Borland’s book in my hands on that early May morning, I thought of this passage by Burroughs.  It is a passage I have often reflected upon while researching and writing about the life of Edwin Way Teale, who, like Borland, has passed largely into obscurity.  When Burroughs published the passage above, he was a national figure whose circle of friends included Theodore Roosevelt, Thomas Edison, and Henry Ford.  Still, it seems impossible that one who could pen the lines above could believe that he himself might avoid his own passage into the “silent throngs of the past.”  I have reflected regularly on this inevitable passage during the last several years, both in the context of my research on Teale and in my reading of other time-shrunken giants of natural history writing: Sally Carragher, Loren Eiseley, Donald Culross Peattie, and Franklin Russell, to name a few.  I have thought less on how or why these authors and others have faded, agreeing with Burroughs that it is inevitable, and have instead considered whether some of these individuals might, even in a limited way, be revived in the public consciousness.

The title page for Donald Culross Peattie's 1935 book An Almanac for Moderns.  From the author's collection.

The title page for Donald Culross Peattie’s 1935 book An Almanac for Moderns. From the author’s collection.

The greatest natural history writers of any generation teach us the power of observation, the capacity to look outside of ourselves before looking inward, to see that, in the context of a complex and extraordinary world, we are very small.  It is this awareness, I believe, that allows us to turn inward and truly see ourselves.  All of us, writers or not, will pass into “the silent throngs of the past.”  Framing their observations in geologic time, natural history writers often see this more keenly than most, and they help us both to see and to contextualize it as well.  They do so not to devalue the lives we live as insignificant but to encourage us to see those lives in the greater context of the natural world, thus deepening our appreciation for the life we are given and the life that surrounds us.  They encourage us to be keen observers of the natural world, to be teachers of an environmental ethic, to be stewards of the Earth that we can come to love so deeply.  We are, however, especially challenged to be observers in a time when our gaze, both by obligation and by choice, is largely transfixed on a variety of electronic screens, a time when our collective quest for an illusory self-worth blurs our ethical standards and undermines our stewardship, a time when our children experience the natural world firsthand less than any previous generation did. There is still a place for Hal Borland in our daily lives, as there is for Edwin Way Teale or Donald Culross Peattie, but can they fill that role once more?  Can we revive them in the public consciousness?  Can we bring them back from Burroughs’ “silent throngs”?

The Christian Science Monitor recently reported that Trinity University Press in San Antonio, Texas has undertaken efforts to “advanc[e] a Peattie revival” by reissuing nine of his books.  The available titles, many of which have been out of print for decades, can be viewed here.  Edwin Way Teale is likewise the subject of similar revival efforts.  I have previously written about Connecticut Audubon Society’s efforts to revitalize Teale’s long-time Connecticut home and private sanctuary, Trail Wood.  This summer, CAS will welcome five accomplished writers and visual artists to Trail Wood for week-long residencies through the Edwin Way Teale Artists-in-Residence at Trail Wood program.  These efforts to revitalize the important legacies of both Peattie and Teale are significant. They are born, I think, of the realization that, despite the legitimate gains we have made through ongoing modernization, we have likewise lost a great deal.  These efforts, and others like them, represent an acknowledgment that many writers relegated to “the silent throngs of the past” still have much to teach us.

A copy of Edwin Way Teale's A Walk Through the Year inscribed by Teale to his doctor, Jack Woodworth.  At the time of the inscription, Teale had been diagnosed with terminal cancer.  From the collection of the author.

The endpaper of a copy of Edwin Way Teale’s A Walk Through the Year inscribed by Teale to his doctor and friend, Jack Woodworth. At the time of the inscription, Teale had been diagnosed with terminal cancer. From the collection of the author.

Borland, Peattie, Teale, and many other twentieth-century natural history writers forged their careers during the Great Depression and, subsequently, the rise of Nazism and Fascism in Europe during World War II.  Teale lost his only child, David, to a U.S. Army reconnaissance mission along the Moselle River in Germany in 1945. This was a period that poet W.H. Auden famously termed The Age of Anxiety in his book-length poem of that title.  The natural history writers of that age found respite from the weight of that anxiety through immersion in the natural world.  Perhaps now, fifteen years into the twenty-first century, we might characterize ours as an “age of distraction.”  Borland, Peattie, Teale, and others were terribly distracted as well, given the world events during their formative years as writers, but therein lies the difference—a malady in need of cure.  Largely, our distraction lies with ourselves.  We have turned inward, not in self-reflection but to shape ourselves to meet an external and often arbitrary set of expectations defined largely by social media in its various forms.  We construct an illusory life to combat our inner emptiness, but doing so inevitably fails, both individually and societally.  The great natural history writers of preceding generations likewise turned inward and encouraged their readers to do the same, but, in that inner place anchored by outward observation of the natural world, they shaped themselves in the context of its complex and wondrous order, an order of which they felt a part.  We need such a connection now more than ever if we wish to preserve both ourselves and the natural world itself.  Reviving voices from the “silent throngs” can help us forge that connection

True Leisure and the Flight of the Dragonette: Innovating for Sustainability

A chapter illustration by Edward Shenton for Edwin Way Teale's Dune Boy, in which Teale chronicles his flight of a homemade biplane glider, the Dragonette.

A chapter illustration by Edward Shenton for chapter 17 of Edwin Way Teale’s Dune Boy, in which Teale chronicles his flight of a homemade biplane glider, the Dragonette.

By Richard Telford

On December 28, 1959, Life Magazine released a special bonus issue to usher in a new decade, titling it “The Good Life.”  Life’s editors declared, “The new leisure is here.  For the first time a civilization has reached a point where most people are no longer preoccupied exclusively with providing food and shelter,” adding, “there was a time when only the rich had leisure [….],” but “Then came mass production and automation—and suddenly what used to be the small leisured classes became the big leisured masses.”  I learned of this special issue last summer while reading The Hampton Journal, one of four 500-page journals kept by naturalist writer Edwin Way Teale from 1959 until his death in 1980, while he lived with his wife, Nellie, at Trail Wood, the Teales’ private nature sanctuary in Hampton, Connecticut.  I thought of this special issue once again, and of Teale in his boyhood days, when I read last week of Bertrand Piccard and André Borschberg, two Swiss aviators attempting the first trans-global, solar-powered flight. The two are piloting Solar Impulse, which their team characterizes as “the only airplane of perpetual endurance, able to fly day and night on solar power, without a drop of fuel.” Though the subjects above might seem disparate, their strong connections offer important lessons in a time when our present mass production and automation strip us of true leisure and replace it with an illusory leisure defined largely by material goods and social media. Though seemingly paradoxical, the loss of true leisure undercuts exploration, inquiry, and innovation, and, as a byproduct of these losses, it likewise undercuts long-term sustainability across all scales and dynamics, ranging from personal wellbeing to the survival of much of the world’s biodiversity. To understand this sequence of loss multiplying loss, we must begin in the Indiana dune country of Edwin Way Teale’s boyhood.

A later printing of Edwin Way Teale's The Book of Gliders, first published in 1930 by Dutton.  From the collection of the author.

A later printing of Edwin Way Teale’s The Book of Gliders, first published in 1930 by Dutton. From the collection of the author.

Edwin Way Teale in his 1943 memoir of his childhood summers, Dune Boy, writes, “And so it came about, when I was ten years old, that I determined to fly.”  Six years after the Kitty Hawk flight of the Wright brothers, the first public air show, or air-meet, occurred in 1909 in Rheims, France, and it was quickly followed by hundreds of others in a short span of time. Teale notes in his first published book, The Book of Gliders (1930), that by 1914 he “had built a hundred models and four gliders—two monoplanes and two biplanes.  The first ended a brief career with a nose-dive from the chicken coop.  The fourth, a huge biplane that ran along on wheels, was pulled kitewise several times across the lower meadow, with my grandfather galloping ahead, shouting encouragement to old ‘Dolly,’ the family carriage horse, that furnished power.” Teale documents the construction and flight of the latter biplane glider, The Dragonette, in chapters sixteen and seventeen of Dune Boy, and these chapters serve to illustrate the critical value of true leisure, which I define for my purposes here as the opportunity to do what we want or need without the demand to do what others insist we must.

True leisure allows us to explore, observe, and inquire.  True leisure allows us to think, to hypothesize, to rethink, and, ultimately, to grow.  While these processes are most critical in childhood, and their effects potentially most long-lasting, it is a mistake to accept as a given that we shed them in adulthood.  For at least a decade, a dedicated contingent within our society has sounded the alarm over the dwindling sense of connection children feel to the natural world, or to any world beyond the confines of LCD screens and over-programmed lives.  We have, as a society, stripped our children’s lives and our own of true leisure, in great part due to the meteoric rise of mass production and automation which, according to the editors of Life, held such promise fifty-five years ago.  How many of us feel a part of “the big leisured masses” in 2015?  How many of us can proclaim without reservation that we are living “the good life” these days?

Edwin Way Teale, in his December 26, 1959 entry of The Hampton Journal, notes the arrival of Life’s “The Good Life” issue largely with disdain.  He is especially appalled by a three-page fold-out spread advertising Swift’s Premium meats.  He copies the text of the ad in his journal: “Can you imagine any better expression of The Good Life than rare and juicy roast beef labeled—Swift’s Premium.”  To this, he adds the following commentary:

When life is really mirrored by Life, the highest good that people will be able to imagine will no doubt be a slice of roast beef.  Thus words are degraded, language erodes.  The good life of the holy man, the good life of Thoreau’s simple ways are replaced [by a] world of materialism.

To be fair to the then-editors of Life Magazine, the December 1959 special issue does not exclusively focus on the material gains for the “leisured masses.” An unsigned editorial on page 62, for example, notes that “it will be necessary, and probably inevitable, that Americans discover the internal quest for happiness, which is the highest use to which leisure can be put.”  Still, this kind of reflection is largely overshadowed by the issue’s dominant focus on the external quest for happiness through material accumulation.

The aircraft Solar Impulse, which is currently being piloted by Bertrand Piccard and André Borschberg in an attempt to complete the first trans-global flight in a solar-powered aircraft.  Courtesy of www.solarimpulse.com.

The aircraft Solar Impulse, which is currently being piloted by Bertrand Piccard and André Borschberg in an attempt to complete the first trans-global flight in a solar-powered aircraft. Courtesy of http://www.solarimpulse.com.

So, when I recently read about Bertrand Piccard and André Borschberg and their endeavor to pilot Solar Impulse around the globe, I could not help but think of the thirteen-year-old Edwin Way Teale gliding for several glorious seconds over the Indiana dunes, the whistling of warm air mingling with Grampa Way’s encouraging shouts and Dolly’s hooves thundering against the taut tow rope. I imagine Piccard and Borschberg to have had leisure time, true leisure time, as young boys—time to imagine, to observe, to wonder, to fail, and to succeed. What is striking about their work and that of their larger team is that it represents innovation rooted in simplification, in taking less from the earth and from future generations. Throughout Life’s “The Good Life” issue, one advertisement after the next extols the value of newly cheaper goods that promise a better life: RCA color televisions made $500 cheaper by automated production, Chevrolet Guide-Matic auto-dimming car headlights, Creslan acrylic fiber…“born of a magic molecule.”  In that version of “The Good Life,” everything is easier, cheaper, and more plentiful.  But then, and now, having more often leaves us with less—a reality that so often seems to elude us.  Still, the aimed-for trans-global flight of Solar Impulse offers hope.  It offers a different model for progress, rooted in sustainability-based innovation, and it is one of many such models taking shape today.

Perhaps it is the growing realization that our material goods, no matter their sophistication and abundance, cannot themselves yield happiness.  Perhaps it is a greater cognizance of our overflowing waste stream.  Perhaps it is the increasingly unavoidable reality that anthropogenic climate change is yielding a cascade of deleterious effects.  Perhaps it is the growing awareness of catastrophic and often irreversible biodiversity losses.  Whatever the reasons, we seem poised at the dawn of an era that will be marked by real gains in innovation aimed toward sustainability. In that sense, the flight of Solar Impulse, the progress of which an be monitored here, is simply a noteworthy and imagination-capturing example of broader change already underway. Whether or not the gains we make can outpace, and possibly temper, our consumer culture remains to be seen.  Still, reading Life’s “The Good Life” issue, there is the overriding sense that the consumer at the dawn of the 1960s wore a corporate veil that obscured any and all downsides to progress.  Reading those pages, it is hard to reconcile that Rachel Carson’s Silent Spring was only two years from serial publication.  Thanks to Carson, Teale, and many others, for us the veil has been lifted. It is only a question of what we do with our new and clearer vision.  Realizing that true leisure is a fundamental need, while the latest iteration of smart phone is a want, is a good place to begin.

 

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.

A Place to Live, a Place to Die: Forging Deep Connections to the Land

The Starfield, a pasture in Trail Wood, the abandoned farm where naturalist writer Edwin Way Teale spent the last 21 years of his life.  His ashes were spread in the Starfield after his death in 1980.  Photo by Richard Telford, Copyright 2013.

The Starfield, a pasture in Trail Wood, the abandoned farm where naturalist writer Edwin Way Teale spent the last 21 years of his life. Teale’s ashes were scattered in The Starfield after his death in 1980. Photo by Richard Telford, Copyright 2013.

By: Richard Telford

The quintessentially American poet Walt Whitman, in the 1892 “Deathbed Edition” final revision of his opus 52-section “Song of Myself,” writes the following couplet in the poem’s final section:

I bequeath myself to the dirt to grow from the grass I love, If you want me again look for me under your boot-soles.

American poet Walt Whitman in a photograph taken by Matthew Brady, circa 1860-1865.  Courtesy of the Library of Congress.

American poet Walt Whitman in a photograph taken by Matthew Brady, circa 1860-1865. Courtesy of the Library of Congress.

It was section 52 of Whitman’s resonant and deeply moving poem that I selected as one of two readings for my father’s funeral more than a decade ago.  In the poem as a whole, Whitman conveys a striking duality—he extols both our individual significance and insignificance.  Whitman opens the poem with his famous declaration, “I celebrate myself, and sing myself, / And what I assume you shall assume […],” but he immediately acknowledges thereafter that “every atom belonging to me as good belongs to you.”  He ultimately articulates both the connectedness and the democracy of “Nature without check with original energy.”  In the end, Whitman argues, we are deeply connected to the land and to each other, whether or not we fully realize it; we are all “coaxe[d]” to “the vapor and the dusk” and ultimately “depart as air.”  And in this democracy of our return to earth—natural earth, atomic earth, final earth—there is, I believe, likewise a democracy of potential deep connection to the natural world, not just in the profound self-realization of facing our own deaths but in life, minute-by-minute life, from cradle to grave.  That sense of connection often lies latent, largely untapped, obscured by a parade of distractions—a truth not just for our era but all eras, though each manifests it in new ways as well as old—but that potential remains.  What is latent can be made vibrant, what is untapped can be tapped, what lies hidden can be made to rise—by our own conscious actions and by fostering such actions in others.  Whitman and so many others who have articulated a deep connection to the land offer us hope.  So too does the natural curiosity of childhood, an in-born impulse to explore which is often whittled away by the societal structures we impose upon it but need not be.  In a time when we face what Richard Leaky, Roger Lewin, Niles Eldredge, and others have termed The Sixth Extinction, the unprecedented anthropogenically-driven loss of biodiversity, the fostering of that impulse to explore, both in our children and in ourselves, is essential.

The author's two-year-old son romping under a sprinkler during the dog days of summer.  Photo by Richard Telford, Copyright 2014.

The author’s two-year-old son romping under a sprinkler during the dog days of summer. Photo by Richard Telford, Copyright 2014.

During the last two decades, place-based education—championed by Laurie Lane-Zucker, John Elder, David Sobel, and many others—has risen to the forefront of the effort to foster conservation-mindedness and overall wellbeing in the general public, especially children. As Mary Rivkin has written in The Great Outdoors: Restoring Children’s Right to Play Outside (1995), “For the long-term conservation of the world, it seems reasonable that children need a strong base of firsthand knowledge.”  It is the absence of such firsthand knowledge that has rightfully sounded alarms over the future of the conservation movement and of the natural world at all scales. The effects of this experiential gap have most famously, and in some circles controversially, been characterized by Richard Louv in Last Child in the Woods (revised edition 2008) as Nature-Deficit Disorder.  The picture painted by Louv in his many writings, by David Sobel in Beyond Ecophobia and elsewhere, and by many others, is a dire one, as it should be, but I draw hope from the literary record, from the naturalist writers who achieved in life the deepest connections to the land, leaving for subsequent generations an instructive record of those connections.  If many of these writers have themselves faded from the public consciousness, it is, I think, simply one more reflection of the societal shift away from the natural world in deference to one marked by consumption, by largely vacuous electronic communication, by hollowness and unsustainability.  As we consciously work to foster and to forge the latent, ready, critical connection between children and the natural world, naturalist writers can provide us a model, a guide by which we may foster and forge those connections first within ourselves.  How can we otherwise give to future generations what is largely absent in us?

When naturalist writer Edwin Way Teale moved in 1959 to Trail Wood, the 130-acre home and sanctuary where he would spend the remaining twenty-one years of his life, he noted in a newly started journal, “We are more fortunate than Moses—we saw our Promised Land and entered it as well […]; our search was wide but in the end we found our Eden” (September 18, 1959).  Ten days later, in a subsequent entry, he notes:  “Here is place to live in and a place to die in, too.”  Despite having just arrived to the place that he would later document in two books, A Naturalist Buys an Old Farm (1974) and A Walk Through the Year (1978), Teale had the vision to see the fulfillment, the sloughing off of the unimportant, that could be had in such a place.  We spend our lives seeking our own Edens, and the short-term targets of that search are often the illusory shadows of success as we are led to see it: material goods, social media adulation, the outward shows of status in all its forms.  What Teale and Whitman, Louv and Sobel, and many others knew and know is that it is through the permanence of the natural world, no matter how we alter it, that we can reconcile our own impermanence.  What better motive can we have for valuing, embracing, and ultimately conserving the natural world?  What better example can we offer to future generations?

In the early spring of 1921, naturalist writer John Burroughs was gravely ill, and he embarked upon a cross-country train trip in hopes of dying amidst his beloved Catskill Mountains in upstate New York.  He died en route, and a March 30 New York Times story reported that passengers aboard the train wept openly as the nationally beloved Burroughs was taken from the train.  Edwin Way Teale, dying of cancer in 1980, produced several rough sketches of a headstone to ostensibly mark his and Nellie Teale’s resting place, and to commemorate their only child, David, who was declared dead one year after going missing in action during heavy fighting along the Moselle River in Germany in 1945.  The following statement appears in penciled script along the top edge of one of Teale’s headstone sketches: “Ashes scattered over The Starfield at Trail Wood.”  Like Whitman, Teale wished to bequeath himself to the land he loved.  For both Burroughs and Teale, their deep connections to the land guided their lives to the end. Their final acts culminated lives deeply connected to the natural world and to the respective places that had profoundly shaped those connections. Such deep connections can be found in the work of living writers, as well;  consider Annie Dillard’s A Pilgrim at Tinker Creek or Robert Michael Pyle’s The Thunder Tree or Barbara Kingsolver’s Animal, Vegetable, Miracle.

Walt Whitman opens section 6 of “Song of Myself” with the following couplet:

A child said What is the grass? fetching it to me with full hands;                                                          How could I answer the child?  I do not know what it is any more than he.

In these lines, Whitman captures the natural, exploratory curiosity of childhood.  He likewise articulates well how comparatively small our understanding of the natural world truly is, rendering us, if we are honest with ourselves, always explorers.  In that sense, perhaps the sum of what we don’t know can drive us to keep the good impulses of childhood that we often shed too readily.  It is these impulses that allow us to make deep connections to the land, both in living life and leaving it.

A Call for Writers and Visual Artists, Summer 2015

A white-faced meadowhawk (Sympetrum obtrusum), a late summer dragonfly.  Edwin way Teale wrote about observing large numbers of Sympetrum dragonflies in his early days at Trail Wood.   Photo by Richard Telford, Copyright 2014.

A white-faced meadowhawk (Sympetrum obtrusum), a late summer dragonfly. Edwin way Teale wrote about observing large numbers of Sympetrum dragonflies in his early days at Trail Wood. Photo by Richard Telford, Copyright 2014.

By: Richard Telford

Connecticut Audubon Society is now accepting applications for the 2015 Edwin Way Teale Artists-in-Residence at Trail Wood program.  Electronic application submissions will be accepted this year, which is a change from previous years. Through the program, inaugurated in 2012, CAS invites writers and visual artists, chosen through a juried process, to spend one week in residence at the former home of Pulitzer Prize-winning naturalist writer and photographer Edwin Way Teale.  The home is situated in the 168-acre Edwin Way Teale Memorial Sanctuary, which Yankee Magazine in 2013 named as one of Connecticut’s two best nature sanctuaries—the other being CAS’s 700-acre Baflin Sanctuary, which is a ten-minute drive from Trail Wood.  The sanctuary still contains 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 CAS.

Teale in the Blind

American naturalist writer and photographer Edwin Way Teale at work in his observation blind alongside Hampton Brook in Trail Wood. Courtesy of the Edwin Way Teale Papers, Archives and Special Collections, University of Connecticut Libraries. Works by Edwin Way Teale are copyrighted by the University of Connecticut Libraries. Used with permission.

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.  Just prior to Edwin’s death, the Teales arranged to bequeath the site to Connecticut Audubon Society as a sanctuary open to the public, which it remains today.

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 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.”

Writing Cabin 2013-12-14

Edwin Way Teale’s writing cabin at Trail Wood after a light December snowfall. Photo by Richard Telford, Copyright 2013.

Additionally, 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 has previously been undergoing restoration, will be available for use by resident artists this year.  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.

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, CAS 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 the its logistics. Inquiries about the program can be sent to trailwoodresidency@ctaudubon.org.  The program’s coordinator, CAS volunteer Richard Telford, 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.

Before Rachel Carson

Edwin Way Teale's ground-breaking article published in the March 1945 issue of Nature Magazine, seventeen years before Rachel Carson began serializing Silent Spring in The New Yorker in June of 1962.

Edwin Way Teale’s ground-breaking article published in the March 1945 issue of Nature Magazine, seventeen years before Rachel Carson began serializing Silent Spring in The New Yorker in June of 1962.

By Richard Telford

When Rachel Carson contemplated the writing of Silent Spring, it was naturalist writer Edwin Way Teale to whom she wrote to see if he thought what she later termed “the poison book” was viable; he encouraged her, and their correspondence would continue throughout the writing of the book that would so profoundly change the landscape of American—and global—conservation. Teale was acutely aware of the need for such a book, as he had written a ground-breaking article on DDT published in the March 1945 issue of Nature Magazine, seventeen years before the serialization of Silent Spring would start in The New Yorker in June of 1962. In his article, Teale painted a dire picture of the potentially catastrophic results that indiscriminate DDT use would wreak on the natural world. Even the magazine’s editors dedicated a full page of commentary to Teale’s article, noting, “We commend for serious and mature consideration the leading article in this issue of the magazine. It is, we believe, significant in thought and implication, even beyond the subject it discusses—the new insecticide, DDT.”

In his article, Teale, while acknowledging the critical role of military use of DDT in the European and Pacific Theaters during the Second World War, expressed the fear that “lackwit officials after the war […] will be off with yelps of joy on a crusade against all the insects.” Such a crusade, Teale argued, would produce “effects [that] would be felt for generations to come.” He continued, “A winter stillness would fall over the woods and fields. There would be no katydids, no crickets, no churring grasshoppers or shrilling locusts, no bright-winged and vocal birds. Trout and other gamefish, poisoned by the DDT or starving as the insects disappeared, would die in the lakes and mountain streams. Wildflowers, in all the infinite variety of their forms and shades, would gradually disappear from the openings and the hillsides. The landscape would become drab, clad in grays and greens and browns. […]. No drought, no flood, no hurricane could cause the widespread disaster that would follow in the train of the annihilation of the insects.” The parallels to the opening chapter of Silent Spring, “A Fable for Tomorrow,” are striking.

A northern mockingbird (Mimus polyglottos), one of the "bright-winged and vocal birds" that Edwin Way Teale feared would be silenced by indiscriminate use of DDT.  Rachel Carson likewise feared a "spring without voices." Photo Copyright 2012, Richard Telford.

A northern mockingbird (Mimus polyglottos), one of the “bright-winged and vocal birds” that Edwin Way Teale feared would be silenced by indiscriminate use of DDT. Rachel Carson likewise feared a “spring without voices.” Photo Copyright 2012, Richard Telford.

This is not to suggest that Rachel Carson stole what should have been Edwin Way Teale’s thunder as a prominent crusader against the indiscriminate use of DDT; there is no evidence to suggest that Teale himself ever held that view. On the contrary, their correspondence suggests the opposite. Instead, the object lesson here is that one individual cannot, through his or her own isolated efforts, cause seismic shifts in public thought, policy, and action, environmental or otherwise. Instead, the profound shift in the public’s view of DDT suggests that only a complex bulwark of thought and action, built through the efforts of many “voices in the wilderness,” can allow for one voice to fully articulate, facilitate, and subsequently come to represent such a profound change.  Street photographer Henri Cartier-Bresson’s concept of “the decisive moment” seems aptly applicable here. This does not in any way diminish the work that Rachel Carson did. On the contrary, it illustrates her capacity to capitalize, both consciously and unconsciously, on the opportunity latent in that groundwork laid beforehand. This she did to the great benefit of generations to follow but at great cost to herself personally and, in some circles of thought, to her long-term legacy.

In his 1958 book Darwin’s Century, anthropologist and gifted natural history writer Loren Eiseley argues the presence of just such a pattern in Charles Darwin’s development of his theory of evolution. Eiseley painstakingly elucidates the influence on Darwin of the work of many scientists and great thinkers who preceded him, such as Gregor Mendel, Jean Baptiste Lamarck, James Hutton, Sir Charles Lyell, and others, as well as the work of his contemporaries such as Thomas Huxley and Alfred Russel Wallace. Essentially, Eiseley argues, many components critical to evolutionary theory were already established at the time Darwin set off on the H.M.S. Beagle. However, none of his predecessors or contemporaries “saw, in such a similar manner, the whole vista of life with such sweeping vision.” Because of this, Eiseley concludes, “Darwin’s shadow will run a long way forward into the future.”

It is important to note that, aside from Teale, there were other early, prominent critics of the indiscriminate use of DDT, including American essayist E.B. White, as well as Richard Pough who, among his legion accomplishments in land and bird conservation, served as the Nature Conservancy’s first president. White had written passionately against the indiscriminate use of DDT in the “Talk of the Town” section of The New Yorker in May of 1945, citing both Teale and Pough as sources. Carson would later write to E.B. White in 1958, suggesting that he write an article addressing concerns over the proposed spraying of DDT to control gypsy moth populations on Long Island. He declined to do so but suggested that she might write it herself for The New Yorker, setting the stage for the subsequent serialization of Silent Spring in the magazine four years later.

After Rachel Carson’s death in 1964, E.B. White, in a tribute written in “Talk of the Town,” clearly recognized her role in centralizing and giving prominent voice to the mounting concerns over indiscriminate DDT use. He wrote, “She was not a fanatic or a cultist. She was not against chemicals per se. She was against the indiscriminate use of strong, enduring poisons capable of subtle, long-term damage to plants, animals, and man. No contributor to these pages more effectively combined a warm passion for nature’s mysteries with a cool warning that things can easily go wrong.”  Rachel Carson had captured and later came to represent a decisive moment in the twentieth-century conservation movement.

Of great interest is the fact that the work of the early DDT critics may have gone unnoticed by Carson. In a footnote to her 1997 book Rachel Carson: Witness for Nature, Linda Lear notes that “there is no indication that Carson knew of White’s 1946 editorial when she wrote her 1958 letter to him.” Similarly, Sidney Landon Plum of the University of Connecticut has noted that there is likewise no clear evidence that Carson read Teale’s 1946 article in Nature Magazine. This may be hard to conceive of in 2014 in our highly digitized, instant-access society, but it is not so hard to believe in an American society preoccupied with the violent rise and costly defeat of the Axis Powers. It is also quite possible that Carson did see one or both pieces, especially given the prominence at that time of their respective authors and publications; the evidence of this, if it ever existed, may simply be lost to time. In the end, though, it hardly matters. The lesson is the same. If we wish to advocate for the environment, and by doing so advocate for ourselves and future generations, we must recognize our potential roles in constructing a bulwark for meaningful change. No contribution to that bulwark is too small.

Like Pough and Teale, and to a lesser degree White (who is now remembered largely for his children’s books and selected essays, and little at all for his environmental advocacy), we must realize that we, as contributors to the larger bulwark, will inevitably fall in the shadow of prominent figures like Thoreau or Darwin or Carson. This, however, does not diminish the importance, even the necessity, of the slow, steady, and often forgotten work that precedes meaningful change. Cartier-Bresson coined his phrase from a statement he attributed to seventeenth-century French Cardinal de Retz: “There is nothing in this world that does not have a decisive moment.”  These decisive moments are not flashes of brilliance absent of context.  We can all contribute to them and, to the degree that it is possible, must endeavor to do so.

Reading the Winter Landscape

Intersecting needle ice beneath the footbridge at Stepping Stone Brook, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

Intersecting needle ice beneath the footbridge at Stepping Stone Brook, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

By: Richard Telford

In his 1978 book,  A Walk Through the Year, Edwin Way Teale writes with eloquent simplicity, “Summer diversifies; winter simplifies.”  In mid-January, after a light overnight snow, I spent a full morning walking the southern half of Edwin and Nellie Teale’s Trail Wood, now the 168-acre Edwin Way Teale Memorial Sanctuary in Hampton, Connecticut, administered by the Connecticut Audubon Society. I hoped to take advantage of the simplification of the winter landscape in order to better understand natural processes that are often hidden or even absent in the spring, summer, and early fall.  Even in the heart of a particularly cold winter, the landscape teemed with life, with the remnants of ended life, and with the precursors of life to come.

View from the footbridge, Stepping Stone Brook, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

View from the footbridge, Stepping Stone Brook, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Cutting through Firefly Meadow, due south of the Teales’ former 1805 center-chimney Cape Cod home, I crossed the small footbridge leading westward to Juniper Hill, the site of Edwin’s modest writing cabin, which he modeled after Thoreau’s cabin at Walden. The footbridge spans a spillway the Teales named Stepping Stone Brook; during times of overflow, it drains the one-acre pond the Teales had dug in the summer of 1964.  Standing on the footbridge, my eye was drawn to the striking geometry of ice formations along the pond’s edge, the ice at this end of the pond kept thin by the moving water.  Lines of needle ice ran parallel to one another like tightly packed feather barbs, intersecting at sharp angles with like formations, dendritic ice filling the open angles at these intersections. Polygonal forms etched the near surface—trapezoids, right and scalene and isosceles triangles—geometric expressions of the crystalline structure of ice.

Climbing Juniper Hill, I headed north along Shagbark Hickory Trail.  I had hiked this trail one week earlier with my five-year-old daughter and had been surprised to see what looked like an eastern bluebird (Sialia sialis) perched on a thick hickory branch that crossed the trail roughly twenty feet overhead.  Viewed through 10×50 binoculars, the coloration pattern seemed unmistakable, though the blue was slightly more slate in tone and the feathers were fully puffed out, making it look overly stout.  To my further surprise, I saw two more specimens in neighboring trees. Upon arriving home, I combed through my copy of The Sibley Guide to Birds and could find no obvious alternatives.  Further, Sibley’s illustration of a bright adult female variation seemed a good match.  Subsequently, I found the following passage in the December 23 entry in Teale’s A Walk Through the Year:  “A bluebird of December […] flies above me over the snow-covered fields as I trudge home in the early sunset of this shorter afternoon. […]. Throughout the winter each year a few of these gentle-voiced singers drift about our Hampton region.”   On my return trip to Trail Wood on this winter morning, I hoped I might repeat the previous week’s sighting, but the bluebirds were absent, as were any others with the exception of a lone pileated woodpecker (Dryocopus pileatus) drumming unseen in the distance.

Needle ice with dendritic formations in a seasonal pool along the Shagbark Hickory Trail, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

Needle ice with dendritic formations in a seasonal pool along the Shagbark Hickory Trail, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Continuing north, I found a small pool, roughly three feet in diameter, its shallow bottom lined with a monochromatic bed of white and scarlet oak leaves (Quercus alba and coccinea). Thin ice coated the surface, and here again was the mosaic of needle ice and dendritic formations, a reminder of the symmetry of natural systems. Beneath the ice, leaf litter and other organic detritus, broken down by fungi and various microorganisms, enriched the pool with nutrients.  Algae coating the leaves did so further.  With spring, these pools scattered throughout Trail Wood enlarge with melted snow and spring rains, transforming them into breeding sites for obligate and facultative species such as the spotted salamander (Ambystoma maculatum), distinguished by its yellow polka dots,  and the eastern newt (Notophthalmus viridescens), often seen in its juvenile land-dwelling red eft stage. These small pools dot Trail Wood’s landscape like earthen kettles, made visible in winter by the leafless understory.

American beech (Fagus grandifolia) leaves blow in a light winter breeze, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

American beech (Fagus grandifolia) leaves blow in a light winter breeze, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Approaching the Old Colonial Road, an east-west trail that is a remnant of Colonial-period horse travel in all its forms, I imagined the travelers who had crossed this way in the course of daily business, travelers who led hard-scrabble lives that likely lent little time for exploration of the kind in which I engaged that brisk morning.  Teale notes in his 1974 book A Naturalist Buys an Old Farm that as of 1959, “The ground was still packed hard from the wheels of wagons and carriages and, some say, stagecoaches that once traveled over this long-abandoned way.”  In fact, one remarkable feature of Trail Wood is the unusual variety of Colonial-period stone walls, many of which reflect not only utility but aesthetic artistry.  These walls now provide extensive habitat, and for the New Englander they feel as much a natural part of the landscape as the mature canopies that have succeeded the once clear-cut fields. Here in my walk I was treated to the soft, baby-rattle sound of the light gold leaves of the American beech (Fagus grandifolia), a sound familiar to any winter hiker of broad-leaf deciduous New England forests. The American beech is the only deciduous New England tree that does not drop its dried leaves until the following spring.  Gazing in all directions, I could observe beech trees in all growth stages, their ubiquity reflecting the species’ shade-tolerance; only the winter landscape affords such a view.

The beaver lodge in the Far North Woods of Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

The beaver lodge in the Far North Woods of Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

After a brief traverse east along the Old Colonial Road, I headed north, quickly encountering Hyla Pond, a vernal pool named for its annual breeding population of Hyla crucifer, the spring peeper.  Following Hyla Rill, the small stream that fills the seasonal pond with outflow from the three-acre beaver pond to the north, I reached the latter site after a ten-minute walk.  Here too the winter landscape offered many insights. The double-humped beaver (Castor canadensis) lodge at the pond’s center rose from the stump-laden, snow-dusted ice.  The damn at the pond’s southwestern edge elevated the water’s surface four or more feet above the neighboring ground, an extraordinary feat of engineering.

Tree clubmoss (Lycopodium obscurum) near Beaver Pond, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

Tree clubmoss (Lycopodium obscurum) near Beaver Pond, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Southern ground cedar (Lycopodium digitatum) near Beaver Pond, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

Southern ground cedar (Lycopodium digitatum) near Beaver Pond, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Tree clubmoss (Lycopodium obscurum) and southern ground cedar (Lycopodium digitatum), commonly referred to as fan clubmoss, sprouted from extensive root networks, forming colonies along the pond’s perimeter.  Both plants, despite their conifer-like appearance, are considered fern-allies according to the U.S. Department of Agriculture, because, like ferns, they reproduce via spores.  These two clubmosses blanketed the spaces between bigtooth aspen and red maple stumps, many covered with layers of shelf-type fungi; nothing goes to waste in natural systems.

These lopped stumps that yield both food and shelter to the resident beavers in turn become habitat to various saprobes, which, by hastening the decomposition of the dead woody material, replenish soil nutrients, cycling energy for future generations of scores of organisms.

Coyote scat with white-tailed deer fur, bone, and dried cartilage, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

Coyote scat with white-tailed deer fur, bone, and dried cartilage, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

The walk south from the beaver pond to Woodcock Pasture, just west of the Teales’ former home, contrasted former life with life to come.  On the trail I found a nearly disintegrated coyote (Canis latrans) scat loaded with dense clumps of white-tailed deer (Odocoileus virginianus) hair mixed with fragments of bone and dried cartilage, a common site at Trail Wood. Crossing Fern Brook, I noticed a single shoot of skunk cabbage rising from the water, an early sign of spring.  Skunk cabbage (Symplocarpus foetidus) can flower as early as February, in part because it is thermogenic, meaning it can raise its temperature above the ambient temperature.  In findings published in Science in 1974, R.M. Knutson reported that skunk cabbage can maintain an internal temperature up to 15 degrees Celsius in an ambient temperature of -15 degrees Celsius.

A lone skunk cabbage (Symplocarpus foetidus) shoot rises out of Fern Brook, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

A lone skunk cabbage (Symplocarpus foetidus) shoot rises out of Fern Brook, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford

Further on, I found a few remnant shards from a white-faced hornet (Dolichovespula maculate) nest tangled in the matted winter pasture grass.  Crossing behind the old Cape Cod home, I walked west to the remnants of Edwin’s former observation blind, crossed Hampton Brook near a Colonial-era spillway, and walked up to Monument Pasture, so named for an early twentieth century rounded fieldstone monument erected by a former field hand named Hughes in honor of himself.  At the eastern edge of the pasture, in an early successional buffer of red maple (Acer rubrum), pin cherry (Prunus pensylvanica) and black birch (Betula lenta) heavily choked by pervasive oriental bittersweet (Celastrus orbiculatus), I found the rain-rotted and crumbling envelope of a white-faced hornet’s nest.  In summer this nest, enfolded in layer upon layer of snarled vegetation, would have been an unseen phantom, a benefit both to the colony itself and to any unfortunate would-be intruder.  White-faced hornets are wisely feared for their stalwart defense of a wide nest perimeter.  After crawling through dense tangles to photograph the nest, I emerged only to be given one final gift from the winter landscape.  A pair of red-tailed hawks (Buteo jamaicensis) circled in tandem for a fleeting moment before turning eastward, their distinct profiles finally vanishing along the seemingly barren horizon that was not barren at all.

A red-tailed hawk (Buteo jamaicensis) flies over Monument Pasture, Trail Wood, Hampton, Connecticut.  Copyright 2014, Richard Telford

A red-tailed hawk (Buteo jamaicensis) flies over Monument Pasture, Trail Wood, Hampton, Connecticut. Copyright 2014, Richard Telford