By Land and By Sea...

   
     Point Reyes National Seashore, located just north of San Francisco, is a vast collection of coastal environs, broad sandy beaches, high grassy bluffs dotted with dairy farms, steep rocky seacliffs, lagoons, marshes, and small bays ringed with docks of fishing boats. The park is crisscrossed with an array of trails that traipse, meander, and robustly climb through its windswept lands.
     I especially enjoy the hike, really more a stroll, out to Kehoe Beach. The 1.2 mile trail skirts the edge of Kehoe Marsh with views of its many resident or visiting water birds and shore birds. Ducks and mudhens and other swimming and diving fowl float alone and in great groups on the smooth water that sits in a bowl surrounded by rolling grass-green hills. A variety of little flitting birds sit atop and hide amongst the branches of blackberry bushes and other shrubs that line the shore and climb the hillsides. Occasional birds of prey float effortlessly above on the air currents, watching for rodents in the grass.

     At the west end of the fresh water marsh is a small wooden bridge that crosses over the narrow outlet to the sea, allowing one access to the wide white beach in dry shoes. The water is brackish, as it is actually both inlet and outlet, changing directions with the tides. Below the bridge, the water is absolutely invisible, masked by millions of bright green leaves of floating waterplants, like the water itself is green and growing. A slender and elegant great blue heron on the other side of the green water is so immobile as to disappear into the sandy spot where it stands.
     West of the bridge, where the water of the narrow inlet/outlet slips between rolling sand dunes, a colony of seagulls stands inches from the water of the outer salt water lagoon. Every five minutes or so, on some silent communal cue, they take to the air like a school of flying fish, wheeling overhead, calling, before settling again a short distance from where they stood before.
     The trail widens where it emerges from the dunes onto the broad sand beach and becomes a dozen lines of footprints fanning out, all heading towards the sound of crashing waves. Along the trail, I have encountered only half a dozen humans, all moving back towards the parking lot. Arriving at the ocean's edge, I see only one lone speck of a hiker far down the beach.
     As far as I can see to the left, as far as I can see to the right, waves rise, curl, crash, and slide up the smooth sand. There are four, five, even six rows of gray-green waves, lined up, one behind the other, marching toward the land. After leaving foamy remains of themselves on the pale shore, each wave retreats, rejoining the vast ocean. I stand for half-an-hour or more, watching the repeating comings and goings, listening to the loud, crashing, rhythmic breathing of the sea.
     Upon closer inspection, the beach is not made from a fine-grained powdery sand, rather it is vast collection of tiny polished rocks the size of rice and peas. Each shiny rock is different from the rest, and together they are a rainbow of colors, red, green, blue, inky black, crystal white, orange and amber. I find myself on my knees, picking up the prettiest ones, until my hands are filled to overflowing, and I can hold no more. As the sun begins to make its way toward the horizon, I place my miniature rock collection into my pocket and head back to find my car, in a slow-paced race with the approaching dark, and retreat once more to my peaceful little bed-and-breakfast cottage.
     I found there to be an interesting contrast between the marsh, so teeming with wildlife, and the beach, so seemingly devoid of it. The marsh provides a microscope-like, closeup view of the bubbling and oozing life process. The creatures populating the sky, ground, and water of the that habitat produce a feast of sights, sounds, and constant movement. By contrast, the only visible signs of life on the beach are California brown pelicans passing by, cruising in formation over the cresting waves. The shoreline's vast dimensions create a spectacular setting for the eternal battle between land and sea. The marsh is a study in biology, whereas the beach is a geological study, both beautiful and fascinating to observe, but very different.

Junky Art...

     Florence Avenue in Sebastopol is home to a crazy assortment of fanciful characters. Nearly every front yard along this quiet residential street is host to a whimsical piece of metal sculpture created by Patrick Amiot out of odds and ends of metal junk. This neighborhood is, in fact, Amiot's home, too. His yard is filled to overflowing with metal characters, while other yards each showcase a solitary favorite.
     In the vast majority of neighborhoods this could never happen. In modern suburban areas, neighbors might have complained about the "junk" and turned their backs on this idea and its perpetrator. Homeowners Associations around the country have CC&Rs that would literally outlaw such playful beauty. But not this small town's residents. They embraced their hometown artist and his quirky creations by joining him in displaying his happy art.
     Firemen in yellow hats and their black-and-white spotted dogs hang out the windows of a red fire truck. An old fashioned milkman delivers his bottles to one house. Plates piled with noodles balance in the arms of a diner waitress in her apron. A bikini-clad surfer girl rides a breaking wave on her surfboard, while a statuesque soccer player kicks his ball across a green lawn. A voluptuous mermaid reclines smiling in an ivy bed. The Mad Hatter holding a tea tray stands next door to a scampering White Rabbit checking the time. A menagerie of dogs and chickens adorn cars and trucks made from a miscellaneous collection of crazy parts and pieces one might find at the dump.

      Amiot makes all this metal and plastic trash come radiantly alive with personality and energy. The sculptures seem to be only momentarily frozen in mid-stride, mid-dash, mid-sentence. Their eyes, made of turn signals, pie tins, and mirrors, sparkle, and their faces smile with genuine delight. Arms and legs, created from kitchen utensils, vacuum cleaner attachments, and old hand tools, gesture and stride. Vacuum cleaner tanks, buckets, funnels, engine parts, and toasters contribute to bodies and heads. Vehicles are constructed from lawn mowers parts and yard tools, pots and pans, children's toy parts, and more.
     My son, Dean, and I visited Sebastopol, 50 miles north of San Francisco, in the wine country of Sonoma County, on our way towards Thanksgiving festivities last fall, after each spending some restful days at the coast. We strolled up one side of the Street of Art and down the other, stopping to point and laugh aloud at each yard. We scrutinized each piece, attempting to identify the disguised components, and picking our favorites. Dean took numerous photos along the way. (The pictures shown here are both his.)
     On our way out of town, we were surprised to see more large pieces of Amiot's junk sculptures about town, dotting our path, like the whole town has adopted Amiot as their "favorite son." We stopped to do a bit of wine tasting in neighboring Glen Ellen, at BR Cohn Winery, and were pleasantly surprised to be greeted at the entrance by four more of Amiot's objects d'art, four "classic cars" with canine drivers.
     What a joy to stumble upon such happy artistic expressions! We had an hour or more during which we were lost in time and space, laughing and chatting, being inspired and delighted by whimsy and creativity. Now that's fun! Florence Avenue enthusiastically brings to life the axiom, "One man's trash is another man's treasure."

"I'm a junk artist and I think that's really my job is to let my feelings go with the junk." said Amiot. "The way it started was that I had this desire to do something other than my clay, so I decided to make this giant fisherman. I just put it right in front of the house and figured, well, if there was a city ordinance that tells me to take it away, that'll be fine. To my amazement, people actually enjoyed looking at it. People slowed down and waved. So that was the beginning, and then came another one, and they eventually started to go onto other people's front yards -- on my street, of course -- and then after six months I sold my first one." -- Patrick Amiot in an interview with "Spark" and KQED

Aerial Acrobatics...

Driving along a two-lane highway in Colorado's Rocky Mountains north of Fort Collins, my son, Dean, and I experienced an up-close-and-personal view of a Golden Eagle in flight. We had just dropped a friend off at the Shambhala Mountain Center and were heading back down the mountain towards the Denver Airport where Dean would catch a flight home to California. Low grass and brush spread out on both sides of the mostly empty roadway, with clusters of evergreen trees standing between us and the rocky peaks a short distance away. The expansive summer sky was a faded blue; billowing clouds were beginning to build over the mountains in anticipation of an afternoon thunder and lightning display. Our plan was to get out of the high country and down into the city before the storm began.
     Off to the left a large raptor appeared low in the sky, flying parallel to the road. We slowed to admire its graceful flight. It appeared to be hunting, and we hoped we might witness its soundless dive for prey in the field. The large, dark bird sailed smoothly downward and swooped across our path to land beside a dark mound of roadkill in the middle of the road ahead of our van. We slowed some more. The large bird-of-prey looked up, directly at us approaching, and once again took to the air. Logically, Dean and I presumed the bird would fly off to the side and wait for the van to pass before returning to its roadkill meal.
     Perhaps, this individual bird had not before encountered cars. Perhaps, it thought of us as competitors for its food. Perhaps, it couldn't comprehend our size and speed. For whatever reason, it made a nearly fatal misjudgment, and in doing so, performed a death-defying feat of flying skill.
     When the giant raptor rose into the air, it flew straight upward. Pumping its broad wings powerfully, it climbed only about 100 feet before stopping mid-air in a complete stall, like a plane in airshow. At the peak of its stall, it paused weightless, before rolling backwards, talons over beak, in a tight, slow-motion back-flip, then spun back around to face the spot on the road where its roadkill lay, and dove like a missile, plummeting downwards, wings tucked tightly for speed.
     I hit the brakes, as this was all playing out unexpectedly in the middle of the road just feet in front of our vehicle. The bird abruptly changed directions once more, a moment before it would have landed. It twisted and turned in flight, heading directly towards us on a collision course. Within seconds, its gaping black beak and wide dark eyes were inches from the windshield, its broad talons and golden belly in full view near the glass. Powerful wings, wider even than the car, made one last, huge thrusting stroke through the air above the van's hood, wingtip feathers brushing the glass, propelling its body up and over the slanted windshield and roof of the van. That last muscular beat of wings, together with the lift created by the still moving van, swept the bird up to safety and out of sight.
     
     That was a Golden Eagle! 
     That was amazing!
     What just happened?
     I'm not sure I believe what I saw!
     I did not just dream that. That back flip really happened, didn't it?
     What was he thinking? How did he miss hitting us?
     It's a good thing there were two of us to see that. No one would believe it otherwise.
     I'm not sure I'd believe it myself, if you weren't here with me to confirm it for me.

Aquila chrysaetos, the Golden Eagle

 
He watches from his mountain walls,
And like a thunderbolt he falls.

~ Alfred Tennyson

Performing Live and On Stage...

     Is there anything that inspires the soul to fly more than live music?

     Is there anything else that speaks to every cell of the body the way music does?

     The other evening, I had the great pleasure of listening to the music of Ivan Najera and friends, all local artists, at The Center For The Arts in Grass Valley. Billed merely as acoustic guitar music, it was, oh, so much more than that. It was exotic. It was mystical. It was transporting and transforming. It was... beautiful.
     Najera's music combined rhythm and tempo from a variety of sources. There were flamingo, tango, and Cuban bits and pieces stirred and simmered with blues and jazz. His sweet guitar purred and sang, sighed and shimmied as he guided an ever-changing troupe of accompanying musician friends through a collection of his diverse compositions.
     Not a foot in the audience was still; bodies swayed and bounced to the intoxicating flow of melodic sounds. My friend, Bill, my host for the evening, and I sat in the second row of the small auditorium, with a perfect view of the stage. As compelling as it was to watch Najera's fingers fly sagely over guitar strings and Cuban drums respond to commanding hands, I found myself with my eyes closed for long stretches of time. With my vision intentionally cut off, my sense of hearing rose to the fore, and I was able to discern the subtle details of the music with greater clarity. I could feel the vibrations as they traveled through the air and the floor and into and through my own cells. The waves of sound moved through me like through water, and seemed to connect me, with web-like strings, directly to the musicians and their instruments. The effect was uplifting and transporting.
     Each of the musicians was masterful and contributed both solo performances and backup playing. There were saxophone, flute, two kinds of bass guitars, electric guitar, an electronic keyboard and a grand piano, and a wild array of drums and percussion instruments. All of the performers had periods of wild abandon when they sailed off into stretches of improvisation. Eyes closed, heads thrown back, hands and fingers flying over keys and strings, they seemed to be having no end of fun.
     I found myself lit up with happiness, as the fun they were experiencing seemed to fly out across the room, like the music itself, and land on my face in the form of smiling delight. The musicians on stage radiated their "flow" state to those of us in the audience. This sense of "flow" is often connected, in psychology, with "the pursuit of happiness" and a sense of "having fun" and often occurs when one is fully immersed in creative processes. 

 According to [Mihaly] Csíkszentmihályi, FLOW is completely focused motivation. It is a single-minded immersion and represents perhaps the ultimate in harnessing the emotions in the service of performing and learning. In flow the emotions are not just contained and channeled, but positive, energized, and aligned with the task at hand... The hallmark of flow is a feeling of spontaneous joy, even rapture, while performing a task (Wikipedia, "Flow (Psychology)").

      Being in the audience at a live musical performance of this level, with this quantity of creative energy, leaves me feeling like I was actually a participant in the event, not merely listening passively, not merely listening at the toe-tapping receptive level, but actually contributing actively to the sense of FLOW in the room. Every ounce, every wave, every packet of energy produced on stage was welcomed by this audience member, whose own energy packets and waves were thrown enthusiastically and spontaneously back toward to stage. The invisible, yet discernable waves of iridescent energy, danced and swirled, intertwined and airborne in the space above all of us, performers and audience alike. The space around and above us invited the rising creative energy with open arms, pulled it like a magnet pulls iron shavings, encouraging further spontaneous creation to multiply upon itself into the spaces within space.
     After the applause, after the encore and more applause, my friend and I left, nearly speechless in our appreciation of what we had experienced. It took time for the musical flow experience to be translated into words, and then they only came out as, "Wow! I mean... It was so... so... Wow!"

Find out more about Ivan Najera at his website ivannajera.com
For more information about performances at The Center for the Arts go to http://www.thecenterforthearts.org/

Over the River and Through the Woods...

     The phrase "daily work commute" conjures images of gridlocked city streets and 7-lane freeways moving at a snail's pace. However, my own daily drive to work is quite the opposite. As the crow flies, my home and the school where I teach here in the foothills of the Sierra Nevada are only about 8 miles apart, but the winding country roads that connect the two cover closer to 11 miles and take me about 25 minutes to traverse.
     As I head east, the road winds through the rolling foothills, the grassy hillsides dotted with majestic old oaks and the occasional gray granite boulder. Long gravel driveways lead to rambling old ranch houses sitting on 10 and 20 acre "spreads" that are home to both domestic and wild animals. Strolling families of deer and swarms of wild turkeys outnumber the grazing horses and cows and ranging chickens.
     The next leg of the drive takes me over the Bear River on a one lane wooden bridge. The road winds down into the steep-walled granite river canyon and then climbs back up the other side, leaving Nevada County and entering Placer County, in the heart of the old 49er Gold Country. When two cars approach the river bridge at the same time, one must wait, as the bridge will only accommodate a single car. Years ago, tires on the bridge made a lovely "clackety-clackety" sound as I drove across, but road crews have since paved over the wooden slats and now the tires simply hummmm. I love to pause in the center of the bridge and look up and down the canyon at the water tumbling robustly over rocks and through pools before bending out of sight.
     The elevation on the eastern side of the river is considerably higher than on the west, and the narrow road climbs steeply up the rocky wall of the canyon, winding tightly as it climbs. Not far past the river, the road once again narrows to one lane and twists and switches back on itself before crossing an irrigation canal that carries water from the high country swiftly down to reservoirs at lower elevations.
     On the eastern side of the river, the rolling grasses and stately oaks are displaced by tight clumps of conifers and views of snow-topped mountain peaks further east. Heading north, the road is joined on the right by train tracks, the western end of the Transcontinental Railroad, which eventually heads up and over the Sierras. To the left, unseen in its winding canyon, the Bear River flows parallel to the road as well. Twists and turns carry the road steadily higher and higher to the edge of serious snow country, before ending at my school.
     What I enjoy most about my daily commute is the ever-changing nature of the landscape through which I drive. The seasons paint their unique versions of natural beauty on the land as the road climbs from one distinct foothill landscape to another.
     Right now, in the depths of winter, it is the passing storms that provide for the dynamic and changing forms that beauty takes. Some weeks, the road is but a black strip slicing through a snow-covered white expanse, overhung by trees draped in shawls of white. Last week, with its series of wet storms passing one after another, the scenery consisted of gray-on-gray textures and patterns. The road was tunnel-like as it burrowed through the dripping trees to the sounds of the car splashing along puddle-dotted asphalt. This morning, the sun rose above the distant Sierra peaks and its rays sliced across a sky devoid of clouds for the first time in days. The wet ground glistened and steamed as the dampness began to evaporate, rising in tendrils and wrapping itself around tree branches, before disappearing overhead.
     I look forward to the coming of Spring, when the roadside will be decorated with wildflowers blooming under trees budding green, and the hillsides will turn an even lusher version of emerald, so intense one can practically see the photosynthesis happening. The Bear River will run wild with snowmelt. Each day's show of colors will be a bit different from the one before, making the drive something to anticipate with eagerness.
     Summer and Autumn bring their own dynamic versions of natural beauty... but I'll save that for later... no point in moving too far out of the present... not when the present has so much to attend to, so much beauty to savor... right now...

Auld Lang Syne...

 Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And auld lang syne?

   

Chorus:     For auld lang syne, my dear,
   For auld lang syne.
   We'll take a cup o' kindness yet,

   For auld lang syne.

     Auld Lang Syne means "times gone by" or "the good old days," so when we sing Robbie Burns' famous 18th Century lyrics we are singing, "We'll take a cup of kindness yet for the good old days," and we are waxing nostalgic about old friends and old times that we carry in our hearts.
     This week marks the birth of Scotsman Robert Burns, a rebel with a cause, and a hero of all rebels-at-heart, who was a working man's anti-establishment, singer-songwriter, the Woody Guthrie or Bob Dylan of his day. This week also marks the birth of my "old acquaintance," Vickie, with whom I was fortunate enough to break bread and celebrate the occasion on a recent evening (Robbie, naturally, could not join us).

     Vickie and I have known one another since the second grade, not our second grade, mind you, but our sons' second grade. The boys are now 25, going on 26, fine professional young men both, so second grade was quite a few years ago. They certainly have grown and aged significantly from those primary grade years, but we haven't. We ladies have hardly aged at all, in fact, still young-at-heart and youthful in body, mind, and attitude. Our kids grow in dog-years, aging seven years to our one.
     I remember the summer our families first met, sitting on the grass in the rooting section at our sons' T-ball games. Neither of our little blond boys was particularly interested in the game itself, not in swinging at the T-mounted ball, nor in retrieving a flyball that came in their direction. They spent most of game time digging holes in the outfield grass, finding bugs, and making other interesting discoveries.
     Vickie and I share a multitude of lovely times-gone-by memories that revolve around our kids: school events, Boy Scout activities, hiking, camping, skiing, BBQing, and Big Games. And we continue to make new memories both with and without our adult children as co-participants. Vickie is a friend who makes me laugh and will cry with me when that's what is called for.

     Back to Vickie's birthday. We drank a cup of kindness to our shared good old days and to current and future good days, as well, at a restaurant I had not been to before, the Club Car in Auburn. The menu had several enticing choices, and we deliberated long before ordering delicious salmon steaks cooked with fresh ginger. We finished the meal by sharing a light and airy whipped cheesecake. Musicians played old rock-n-roll in an alcove at the back, white cloths adorned the tabletops, and the long bar was beautiful dark wood paneling that looked vintage. Vickie and I talked well into the night and, in doing so, created another fine memory to wax nostalgic about as time goes by.

     Happy Birthday, Robbie!

Close Encounters...

     Speaking of bears, I have a favorite spot in the high country of Yosemite, just off the road between Tuolomne Meadows and Tioga Pass. There's a gravel turnout just big enough to accommodate one or, in a pinch, two cars. I make a point of visiting that spot during every visit to the park, always in time for sunset.
     A few yards from the road is a small, still pond, surrounded on three sides by thick pine forest. To the east towers Mt. Dana, a reddish rocky peak that looms above the line of trees. Just as the sun settles below the horizon, unseen downhill to the west, its last warm rays skirt the treetops to illuminate Dana's naked crown, turning it crimson in an optical phenomenon known as Alpenglow. Viewed from the western edge of the pond, Mt. Dana's flame-colored peak is reflected in its every detail in the mirrored surface of the pond, a scene capable of creating awe in any observer. The intensity of color lasts only a few precious moments, so every year I arrive in plenty of time to set up my camera and tripod hoping to capture the three-dimensional beauty onto a two-dimensional print. Each year I attempt the feat; each year it eludes me. It has become a bit of a quest now, an ever elusive pursuit, to get the perfect photo.
     Several years ago, while I was intently focused on setting up my gear, I sensed a presence approaching from behind me. I turned to find that an older gentleman had squeezed his car in beside mine and was walking towards the pond. He paused near the water and stood silently watching the peak and its reflection. After some time, he spoke. He told me how he had come to that spot every year for decades, always on his last night in the high country, always alone. He described his ritual solitary hike around the perimeter of the pond, yet he made no move to begin that annual walk. After some silence, he told me that age had gotten the better of him. He didn't think he had the stamina, the strength, to make the walk that year, that perhaps, unknown to him at the time, the previous year's trek had been his last. I offered him my hiking poles and/or my company for his walk, but he declined. Then he bid farewell to the pond and returned to his car, heading east towards the park exit. His melancholy longing hung in the air long after he departed. It felt as though I were the recipient, the heir, to his pond and his ritual and his story. When I looked up, the Alpenglow was quickly fading. Without taking picture one, I packed up my gear and returned to camp.
     One year later, I returned to the exact same spot, set up my camera, and awaited the post-sunset light show. Again, I was totally absorbed in the process of composing and adjusting camera settings in anticipation of capturing the elusive perfect Alpenglow photo, when I felt, rather than heard, a presence behind me. Turning, I saw, emerging from the woods fifty feet away, a breathtakingly beautiful cinnamon-colored bear. Backlit by the last of the sun's now horizontal rays filtering through the tree trunks, the bear seemed to glow. A fiery halo emanated from his furry shape. He paused near a fallen log, and we observed one another for several moments.
     The bear and I spent ten or fifteen minutes together that evening. I was never frightened. I was aware and cautious, but not scared. I watched him intently, amazed at his natural beauty, his air of confidence, and his peaceful calm. He moved forward, walking very casually, then inspected the log closely, finding some tasty bites under its rotting bark that kept him busy scratching and eating for some time. Satisfied, he wandered past me to get closer to the pond's edge, where he paused to drink, before setting off to walk around the perimeter of the pond.
     Once again, I missed the peak of Alpenglow color and the perfect photo, but at one point, I did have the presence of mind to swing my tripod-mounted camera around to get a shot of the bear by the log. The camera was set for bright light, however, and I was shooting into the dark forest, so the resulting picture produced a smudge that looks more like the shadow of a ghost than a bear.
 
     Both Celtic and Native American traditions honor the bear symbolically as a powerful mystical force and a protective spirit. The bear is believed to be a shape-shifter who can move between the human and natural worlds, and as such, represents the merging of intuition and instinct that guides one to inner wisdom. It is quite an honor to receive a visit from the spirit of such an illustrious clan.