Rooting for Justice

(Note: Permaculture activist and Perennial Veggie Expert, Eric Toensmeier, planted the seeds that sprouted into this sermon. It is based on the true story of Nuestras Raices, a community garden project in Holyoke, Massachusetts. Any mistakes or inaccuracies are purely my own. The Lectionary texts on which this sermon was based may be found here.)

[A Sermon for Proper 10C, delivered July 11, 2010 at a UCC church in Maine]

They never meant to cause trouble. They never meant to agitate, to call attention to the sleeping giant sprawled in front of them. They'd spent their whole lives learning how to stay in the shadows, to say “yes, sir” and “no, ma'am.” They certainly never meant to start anything.

They were a bit like that Samaritan in the story—you know the guy, someone from “Away” with questionable morals and strange habits. You know the sort I'm talking about—they didn't talk right. They were probably even Yankees fans—well, know, I probably shouldn't go THAT far!

But you know the type—they stick out like sore thumbs when you drive into the city. They wear strange clothes—nothing like the locals. When you see two or three of them together, their voices rising and falling with those rapid-fire, unintelligible words, you can't help but feel suspicious. Are they just talking about the high cost of groceries, the poor job market, their efforts to get their kids in a decent school? Or are they looking back at us, talking about us, judging us the way we judge them?

Maybe they're like the prophet Amos. Maybe, like him, they never intended to come here, but something bigger than them was at work. Like Amos, the country bumpkin called by God to take a message to King Jereboam and his high priests. Amos understood cattle, but he didn't understand the ways of the court and the city. He knew how to take care of fruit trees, but he didn't know what to make of the city's power and wealth. He knew a bit about worship, but the city's shrines were full of perfumed prostitutes and the priests' robes glittered with gold. When God gave him the courage and power to speak out, the high priests didn't appreciate his prophecy. When he shared the vision of God's plumb line being held against the city, King Jereboam didn't appreciate the idea that his place didn't measure up... Hold on to that thought. Let me get back to my other story.

Anyone in Holyoke, Mass could have told you those Puerto Ricans didn't belong. Anyone could have told you the way trouble seemed to follow them everywhere, like one of the half-wild dogs that roamed the beaches of their island home, waiting for the tourists to drop a morsel, a crumb, anything that might send their hunger into some partial retreat. Or maybe it was them who followed trouble. I mean, look at the place: block after block of crumbling brick boxes to live in, factories mostly shuttered, jobs vanished almost overnight—for THIS, they'd been sucked in by the lies of the recruiters? For this, they'd left the poverty—and the beauty—of their hardscrabble farms in the warm, green island hills?

Their children were upset, too: sad, angry, confused. The schools didn't know what to do with them—how do you teach a kid to read when their parents can't read either? Never mind that they knew how to raise the best peppers and yams you ever tasted. Never mind that they knew how to slaughter a goat or a pig and use everything but the squeal. If you wanted to live in Holyoke, you had to work the jobs they had available and live where there was room. The city had standards to keep and these people didn't pass all their tests. Thanks to all these immigrants--unwanted, uneducated immigrants--the schools had some of the worst scores in the nation. And what with the crime rate, and the poverty, the urban blight and the poisoned river, well—anyone could guess where the town was going.

The Puerto Ricans knew they were unwanted-- like the English, the Irish, The French-Canadians, the Germans, the Poles, the Jews, and all the other immigrants brought in before them, lured with the same false promises of good work and decent wages. But there they were, stuck in a dead-end post-industrial Northern city, their resources all used up, nowhere else to go, nothing to count on, nobody to turn to. And really, they didn't really mean to start something...

Who can say how it happened? Somebody drew a line in the dirt of an abandoned lot. Somebody planted a seed in a paper cup. Somebody, bored and frustrated, laid off from his construction job, went out and laid into the dirt with a pickax. His neighbor looked out, curious, and brought out a shovel. Then one day they saw the little old abuela, the grandmother, struggling with gallon jugs of water, trying to get enough moisture around the plants to keep them green, maybe even help them grow a little bit. A shy, quiet man surprised himself--and everyone else--with a surge of courage, went to the landowner, and requested permission to use the spigot and bring in two rainbarrels. A jogger stopped to admire the neat little green rows in the abandoned lot and found herself two days later donating a sturdy garden hose.

More people came. The city gave official permission to use the lot, to put up signs and lay out plots and build protective fences. Muscles and friendships grew. Fresh food—good tomatoes and squash, beans and even bright red and yellow peppers to give their meals a taste of home. People with little or no money found themselves trading, bartering squash for tomatoes, peppers for cilantro. When some of the tomatoes went missing, they formed a council to govern the garden. They named their new organization, “Nuestras Raices / Our Roots.” They elected two people to coordinate the plots and watch over everything. The drug dealers didn't do deals in the lot any more; it was always so busy. More people got involved—even local businesses and nonprofits. Everyone wanted to have something to celebrate in a city full of too much bad news.

Nuestras Raices organized workshops on cooking and preserving food. They paired young people up with wise elders who had decades of gardening and life experience to share. As they realized the various needs in the community—and realized their own ability to take action—they began to offer literacy classes, financial planning workshops, voter registration, lessons in civics. As they learned to read and write and organize, they started businesses together. They put on festivals to help others understand and appreciate their foods, their music, their language, their culture.

Mind you, they never meant to start anything. But after five other abandoned lots turned into beautiful community gardens, the city sat up and took notice. “What else would you like to do?” they asked. “We want to be treated with dignity. We want safer places to live. We want our children to do better in school. We want to know why they can't swim or fish in the river. We want to know why they keep getting sick.”

The Mayor's office didn't see it coming. The Town Fathers were less than amused. Who did these people think they were, anyway? Did they even pay taxes? Did they even vote? It was one thing to get to show up for a nice ribbon-cutting now and then. It was another thing altogether to be asked to investigate toxic waste in the inner city. At first, the officials tried to ignore them, but the people wouldn't go away. They held more community meetings. They brought in outside help when they couldn't get answers from City Hall. They enlisted a team of high school students, with all the inquisitive passion of their age, and taught them how to collect scientific data with the support of the Environmental Protection Agency's “Environmental Justice” program. Here's a sample of what they found: between 1988 and 1999, more than 3.5 million pounds of toxic chemicals where released to the environment of Holyoke, mostly by industrial operations in inner city neighborhoods. The chemicals released were known to cause birth defects and learning disabilities in children, to damage lungs and kidneys, to destroy healthy blood cells and cause asthma and cancer, among other things.

The folks at City Hall didn't want to listen. The folks in the prettier, cleaner parts of town didn't want to listen either. Neither did the industry executives. How dare they hold up this kind of plumb line? But the people kept working, kept fighting to be heard, kept gathering allies and organizing. They had found their own voices and their own sense of justice. Their dreams of the past and their resentment of the present had given way to a clear vision of the future and a willingness to press forward together.

What does Holyoke look like now? Yes, there are still problems. But in the inner city, eight beautiful community gardens grow and thrive, tended by people of every age and every color, working together. The garden coordinators have become community leaders, listeners and advocates and problem solvers.

The youth program has grown by leaps and bounds. Now these young people paint murals together, help design and manage the gardens, continue their environmental justice research, and teach other kids how to work for change in their communities.

There is a women's leadership group too, and a green jobs initiative called “Roots Up” that teaches participants how to build and market solar hot water heating systems. There is a training institute that helps people learn what it takes to be successful entrepreneuers and project organizers. Oh, and then there is that land along the river—the place where the city wanted a riverboat casino. Now it has been christened “Tierra de Oportunidades, a community-designed garden and agricultural business incubator with 15 “new beginning” farms, public nature trails, an outdoor stage for concerts and festivals, tropical flowers and crops, a farm stand, and more.

No, they hadn't meant to start anything. Amos didn't mean to start anything either, but God called him from his orchards and his cattle: Then Amos answered Amaziah, “I am no prophet, nor a prophet’s son; but I am a herdsman, and a dresser of sycamore trees, and the Lord took me from following the flock, and the Lord said to me, ‘Go, prophesy to my people Israel.’ When he answered God's call to become a voice for justice, he was led among high priests, prophets and kings. He was called to hold a corrupt city accountable—not just to human standards, but to a greater standard of justice and righteousness.

And like the Samaritan, unwelcome traveler, despised foreigner--all his days filled with the taunts, threats, and hurled insults of others—-he never meant to start anything either. Who knows what made his broken immigrant heart more open to God's call for mercy and care? What matters is that he WAS open. He was open and the Spirit moved him to action, perhaps at great personal risk. He accepted the risk, took action, and became a shining embodiment of God's own compassion. This stranger, this unwanted foreigner, reached out and saved a life when nobody in power would. Jesus knew it was a wild thing to suggest-- like saying that, in a neat orchard of apple trees, the best fruit grew on a weedy little grafted tree, a recent transplant with a label that said “mango.”

God never stops trying to surprise us, to shake us out of our sweet repose, to open us to the ongoing work of the Spirit. God never stops showing up in our midst, lonely and hungry, daring us to recognize each other as brothers and sisters of Christ. God is still speaking. Are you ready to listen with all of your being? Are you prepared to embrace your own blessed calling? Perhaps some of you are called to plant seeds of God's kingdom. Perhaps some of you are called to prepare the ground for those seeds. Some may be called to share, far and wide, the healing skill of your hands, the good fruits of your labors. Perhaps some of you are called to reach out, in compassion and solidarity, to those still feel rootless, cut off from justice or joy or peace.

We don't have to be afraid of starting something. We don't have to feel isolated. We don't have to worry ourselves about whether or not we belong. God is right here with us, sharing the work, holding us in a circle of loving accountability, giving us a taste of God's kingdom wherever hope, justice and compassion begin to blossom. And wherever these things blossom, we will all move together towards that wonderful harvest feast where everyone is welcome and we all—every one of us—belong.

Image sources: Puerto Rican farm, Holyoke Brickbox, Community Garden, Mango Tree.

Friday Five: Music of the Spheres

Songbird, at RevGalBlogPals, writes, "...It was the same Martin Luther who said: "I have no use for cranks who despise music, because it is a gift of God. Music drives away the Devil and makes people gay; they forget thereby all wrath, unchastity, arrogance, and the like. Next after theology, I give to music the highest place and the greatest honor." On this Friday before Reformation Sunday, let's talk about music. Share with us five pieces of music that draw you closer to the Divine, that elevate your mood or take you to your happy place. They might be sung or instrumental, ancient or modern, sacred or popular...whatever touches you."

Oh dear. Only five?!?

When I read the instructions for this morning's Friday Five, I immediately raced over to my music-box (one o them fancy 4-in-1 things) and put on my CD of "Sing Lustily & With Good Courage" by Maddy Prior with the Carnival Band (CD-SDL 383, copyright 1990 Saydisc Records, England). The recording, commissioned by the BBC for the 250th anniversary of John Wesley's spiritual awakening at Aldersgate, takes its title from Charles Wesley's "instructions for singing," found in most Methodist Hymnals and also posted in the choir room of the United Methodist church in which I grew up. Look up the full instructions when you get a chance-- they're a delightful read and, even now, an excellent set of instructions for group singing.

The lusty, courageous singing and instrumentation of this recording are a real, well, EAR-opener for anyone who thinks "traditional" hymns are dreary and boring. They were, in the 18th century, a rather shocking innovation. Not only did they stray from strict adherence to the texts of biblical psalms, they often employed tunes that verged on being rambunctiously secular. But that wasn't all that upset the BigWigs and Hie-Heid-Yins. As Andy Watts says in the liner notes, "What made the hymns so different form the old metrical psalms was their expression of personal religious thoughts and feelings in vigorous, emotional language. They spoke of God's love for sinners, salvation for the individual, the liberating power of Jesus, the inner experience of the Holy Spirit, strength to withstand oppression and the promise of future glory. This was abhorrent to most of the Anglican Establishment and the ruling classes."

So, with my customary delight in doing things abhorrent to the ruling classes, here's my list of five:

1.) "O For A Thousand Tongues To Sing." Once you get past the ridiculous mental image, it's a wonderful tune of upwelling joy. I always heard it as confirmation of a multilingual path towards spiritual truth-- that no single tongue, no single voice or language is sufficient to teach us all there is to know about God's Grace and God's ongoing involvement in Creation.

2) "Be Thou My Vision" This mystical hymn wraps itself around me like a warm embrace from my spiritual and cultural ancestors. The tune, "Slane" is an old Irish one, dated at least to the 6th century. The hymn's imagery echoes old Celtic praise-poems and travelers' prayers of protection. Curiously, it also represents one of my few quarrels with the move to "inclusify" and democratise the language of American hymnals. I much prefer the old words, in which Jesus is proclaimed "High King of Heaven." Admittedly, the reference is lost to American singers, but this refers to the old hierachies of the Celtic Lands, in which many small local kingdoms deferred to a "High King" as their ultimate leader and wise arbitor. With all the petty kingdoms and tiny idols we modern folk worship, I still find it meaningful to understand Jesus as a wise leader whose stories and virtues inspire us to extend our gaze beyond our own navels.

3)"Lift Every Voice" (words: James Weldon Johnson, music J. Rosamund Johnson, c. 1921) Unlike "Be Thou My Vision," this anthem emerges from a struggle outside of my culture and ancestry, but I do not love it less. It makes me feel connected to the deep and powerful "soul-force" of the African-American freedom struggle. When I sing it, every breath re-embodies the truth that "an injury to one is an injury to all." The forceful rhythm draws my footfalls into a greater march. The music lifts and even shoves my spirit upwards and onwards. This anthem holds me accountable for my own role in the great drama of justice-seeking.

4)"Freedom Come-All-Ye" (Hamish Henderson) Many Scottish folk continue to call for this song to be named the new National Anthem of Scotland. It was written by one of my personal heroes, a Scottish soldier whose wartime travels to Africa and experiences of shared suffering somehow moved him to transcend hatred and bigotry, to love "the fellowship of man" MORE fully and deeply. (I use the gender-specific term on purpose, as Henderson's experience was truly one of brotherhood with his fellow soldiers.) Here, he has taken a pipe tune from the First World War, "Bloody Fields of Flanders," and put Scots words to it that draw a connection between Scotland's own history of struggle and oppression and the South African struggle against Apartheid. (Henderson was a long-time correspondent with Nelson Mandela during his imprisonment.) It's a visionary masterpiece that has become one of my own "get-my-courage-up" songs.

5)"The Joy of Living" (Ewan MacColl) Ewan wrote this song in his own struggle to come to terms with the approaching end of his life. I learned it from the singing of Alison McMorland and Geordie McIntyre, two Scottish tradition-bearers who knew MacColl very well. Their recording of it was played at my grandmother's funeral. Just now, I keep this song in mind as I mourn the crossing over of another dear one, my friend Bruce. I think Bruce and Ewan would have gotten along famously--they shared an intense desire to live each day to its absolute fullest, to do all the good they could in their years' span.




(Image sources: Language Tree from here. Celtic Mandala from here. MLK art from here. All other images copyright Mainecelt 2009.

Common Ground 2009: All's Fair in Love and Chore, Part Two

Here, as promised, is the second installment in our "film strip" from Common Ground Fair. Rose Freedman and Justin Lander of Modern Times Theater (an outgrowth of Vermont's venerable Bread & Puppet Theater) teach us about the word "Chore", the art of farming, and how to strike a blow for freedom.






"Chore lives high on the hog, low on the hog, and makes soup from the rest of the hog."

(I regret that the details of their hand-painted posters don't show up as well as I'd hoped due to the low resolution at which I was filming. You'll still have a pretty good sense of the images they're indicating, however.) If you ever get the chance to see these two brilliant buskers in person, I highly recommend it!

Journey to the Center of the Mirth (Part Three)

This is the final installment of our Pacific Northwest travelogue.

Sunday, August 30th
Kith and Kin are slow to wake and gather, and farmers need food before noon. We early risers banded together on the day after my brother's wedding and set out in my uncle's car on a bakery quest. Clarification--this was my uncle's rented car, complete with GPS. He recalled a previous visit, during which my brother had taken him to an enormous French bakery. He did an internet search for a French bakery in Portland, Oregon, entered the address into his GPS unit, and we headed off.

Half an hour and a few "recalculations" later, we arrived at the indicated coordinates: a tiny Vietnamese-French bakery tucked into the backside of a dilapidated building in a low-income neighborhood. This was not the sweetshop of memory, but hunger was edging toward voraciousness, so we went in. There was a small array of French pastries, most of which involved coconut, pineapple, and other tropical twists. There were also fried sesame balls and steamed pork buns and coffee--not your typical barista creations, but tiny splashes of tarry black stuff that made The Piper's eyes slam open so hard she appeared to bruise her eyebrows. After two sips, she looked entirely awake and slightly terrified.

One cousin, one aunt, one uncle, one farmer and one Piper quite overwhelmed the tiny shop and its single cafe table, so we ate quickly and took a bag of sesame balls with us in the car. None of our relatives were yet answering their cell phones, so we headed back downtown and raided a couple of Portland's fantastic bookstores--including the massive ediface of Powell's--before heading back to my brother's house for the 1:00 potluck "brunch."

After a beautiful sunlit backyard repast, during which the involved families lolled around adoring each other, we repacked the cars and headed north. This time, Z-man headed back with Dad and the other car was declared the province of "just us girls." We intended to make a detour: the Swan Island Dahlia Show. My florist mother, my sister the designer, my Piper and I tucked ourselves into the car and headed west.

The city streets turned to country roads. We traveled alongside rivers, through hillside tunnels, and down byways lined with fir, hemlock, and other evergreens. Two turns off the main road, the scenery suddenly changed to massive fields full of flowers as far as the eye could see. It was like the technicolour revelation of the Land of Oz: so brightly coloured as to seem unreal. The other oddness was in the crowd's composition. We were there for a flower show. Nothing else was going on. Why were there so many MEN?!?

Well, as it turns out, I guess dahlias are a guy kind of flower: big, brash, bold, their colours and styles bursting forth like so many fireworks. I have never elsewhere beheld so many men taking the lead at such an event, dragging their wives and girlfriends from one display to the other, enthusing about this one's size, that one's astounding hue, their cries of delight echoed by the preening peacocks on the roof of the adjoining barn. (Dahlias and peacocks: another previously unconsidered natural pairing!) The Piper and I edged our way through the crowd, marveling at the floral freaks on display: dahlias of pale green and velvety black, dahlias splotched and striped, dahlias bigger than our heads. We made our way to the exit and ambled around the edges of the farm's public concourse, just as interested in their safety and crowd-control measures as we were in their blooming displays. Flower farms need not fear the same vectors of infection as livestock farms--there were no boot-washing stations, for example--but it was a useful opportunity for study nonetheless.

My mother and sister emerged several minutes later, their grins huge, their digital cameras full, their eyes surfeited by colour. We laughed and enjoyed our time together, then reluctantly returned my sister to the city and headed north to the island once again.

Monday, August 31th
The pressure was on: this was our final day to visit kith and kin and there were two very important trips on our schedule, each involving a different ferry route to the mainland. My little brother had fortified us the night before with his ferry pass and some "free ride" bus coupons and my mother obliged us with a morning ride to the ferry dock. The rest was up to us...but I had forgotten to account for the fog.

Growing up, I loved the fog. I loved the way it encircled the island, a soft blanket that cushioned us against the noise and fuss and hurry of the rest of the world. Fog obscures sight and swallows sound. A ferryboat ride on a foggy morning, complete with good companions, great books, and/or pleasant projects, can be a sweet sabbath of unhurried time. There is nothing one can do but sit back, relax, and wait.

On this particular morning, though, we strained at our weather-tethers. Ten minutes' walk from the waterfront, in a mainland city, waited a dear friend I'd not seen in ages. I'd met her in a Gaelic choir, where her rich, full voice, welcoming spirit and wry wit were the delight of all who knew her. The understanding between us was deepened by our respective multicultural upbringings. I missed her heartily, and the ferryboat's delay was stealing precious minutes from our one chance at meeting.

Finally, half an hour later than intended, we arrived out our meeting spot. She was walking slowly away with a dejected air and we were racing down the street with much anxiety. When our eyes met and spirits leaped in recognition, the sadness and stress dissipated like fog under a hot summer sun. I introduced The Singer to The Piper. We repaired to a restaurant and packed as much affection and as many stories into that visit as time and space would allow--and then some! But she had an appointment to make, and we had buses and ferries to catch on our way to yet another visit... reluctantly, we held on to each other as long as we could, then bid each other a proper Gaelic farewell. The painful sweetness of the chance to converse in Gaelic was almost as hard to bear as the thought of leaving her and the Gaidhealtachd again. Such grief at departure is, of course, the basis for a great many Gaelic songs. As one Cape Breton bard explained it, "they're always singin' about the girl who's never there."

The sun was rising higher and, as we rode a bus out of the city to another ferry dock, the fog gradually lifted and cleared away, leaving us under a bright blue sky on a glorious late-summer day. The water sparkled. Our spirits skipped and danced, riding the currents of the Sound and the gusting sea-scented air.

Later that afternoon, Z-man and Mom joined us for yet another ferry-ride. This time, we aimed ourselves westward. We were off to the Olympic Peninsula to see the home and workplace of The Piper's Son, and we came bearing pies for dessert.

The Piper's Son works for The Arts & Crafts Press, a letterpress printshop that specializes in original and historic cards, prints and books related to the Arts & Crafts Movement. His employers, Bruce and Yoshiko, have immersed themselves in that movement, both its history and its revival. Yoshiko's artwork and Bruce's authorship both contribute to the revival, and their work is much sought after.

It was natural that The Piper's Son should find his way to their workshop. His father and The Piper built Arts & Crafts furniture together for many years before their artistic pursuits went in different directions. The Piper's Son divided his childhood playtime between woodland streambeds, a huge collection of Legos and an exquisite set of mahogany building blocks. Everything he handled informed his sense of structure, form, and design. Everyone around him worked with their hands, making stuff. So it was that, after graduating from college and working as our house-carpenter for several months, he took a cross-country trip and secured his current position.

We arrived at the end of his shift, so he showed us around the printshop. There were beautiful old printing machines with massive rollers and cast-iron flywheels. There were racks and shelves of recently-printed cards, warm vintage colours impressed on elegant, creamy cardstock. He talked us through the process from start to finish, then led us to the stockroom full of finished prints, cards, and other beautiful necessities. We could hardly tear our eyes away from the splendid array, but voices called from above us: dinner was ready, and it was a perfect evening to repair to the deck.

Mom, Z-Man, The Piper, The Piper's Son, Bruce, Yoshiko and I basked in the light of the lowering sun while their two small children wove in and out. We feasted and talked, it seems, of everything under the sun. I felt sorry for the young Japanese au pair-- our conversation became so rapid and animated that, although she was welcomed into our midst, I believe we quickly exhausted her capacity for comprehension. The children, meanwhile, seemed to absorb and use both languages with apparent ease. My Taiwanese brother, Z-Man, seized the opportunity to surround himself with other Asians. As soon as our talk veered towards art and politics, he excused himself from the table to play with the children. We all settled into our respective elements, utterly content, blissfully happy.

We talked until the moon rose high in the sky. The soft gradients of the sunset and the sharply deckled lines of the evergreens looked for all the world like one of Yoshiko's prints. Then it was time for more hugs, more promises to visit, more reluctant goodbyes...and a side trip to the present abode of The Piper's Son, spartan yet suitable, befittingly bedecked with one of Yoshiko's prints in a handmade frame and two well-assembled lego spaceships. He seemed to have made a good start for himself. We smiled to ourselves in the moonlight as we drove the dark roads and took the ferry back to the island.


Tuesday, September 1st
Bags repacked and begrudgingly ready to go, we stepped outside for one last walk around the gardens and blackberry thickets of my parents' island home. We smelled the roses, laughed at the comical trio of slug-patrolling ducks, and popped handfuls of juicy blackberries and huckleberries into our mouths. But we had to make haste-- there was another ferry to catch and another bus to ride before we'd reach the airport, and I was back in island-commmuter-mode, planning all my activities with lead-time and public transport schedules in mind.

On the way to the dock, we stopped for a quick hug and the briefest of visits with on of our Wild Girls, KyedPiper. I handed her a promised memento-- a snippet from the forelock of Broilleach, our recently-dispatched bull. Being a vegan, she was at once queasy and grateful for the tangible connection. We reminded her that the farm and the cows would gladly welcome her back again, then headed off to catch the boat.

On the ferry dock, we unexpectedly ran into another one of my childhood friends. Islands are like that! We walked on to the boat together. He gallantly carried our suitcase up the stairs on the ferry, then regaled us with tales of Casa Vista, the B&B he built on the island. It was a fitting connection, a reminder that we were headed home to continue the work of constructing our own dreams and building our own vocations.

One bus, two airplanes, one lost piece of luggage and a long car-ride later, we arrived back at our own wee home. We were greeted less-than-enthusiastically by our Border Collie, who clearly had adored the farmsitter. The farmsitter (a bit bleary-eyed from the rude awakening of our late-night arrival) said those words every returning farmer loves to hear: "you didn't leave me enough to do, so I weeded your garden."

Hmmm. With a farmsitter like this, we may just take vacations a little more often!

(All photos mine except for the final image of an historic boat on Puget Sound, which I borrowed from Osman Person.)

Friday Five: Wind in My Sails

Sally, over at RevGalBlogPals, writes:
"... sailing is a family passion, we love the water and the wind, and take delight in the fresh air and quiet, but also in the competition, striving to do our best!
How about you?

1. Is there a sport/ hobby that is more of a passion than a past-time for you?
I've never been one for sports, although I do like salt-water swimming and Messing About In Boats and I adore a good game of Extreme Croquet.
My hobby/passion is the exploration of folk culture and traditions--especially those of the British Isles. (I come by this anthropological bent honestly-- growing up in a multi-ethnic family with three adopted siblings, intercultural study was simply a part of daily life, and provided a goodly portion of our family fun.) With some like-minded friends, we even started a nonprofit organization to support our folk culture habit, although it's in "sleep mode" while we finish building our house. The Piper and I have justified the purchase of many a CD and weighty ethnographic tome by saying, "It's all for the Ceilidh House library, of course--and we'll use these as reference materials when we teach our bagpipe and Gaelic language students!"

2. Outdoors or indoors?
Outdoors: festival-going, "ethnically-correct" gardening and orchard-tending with heirloom plant varieties, and staying close to the salt water that bouys my spirit and connects me to my ancestors. Indoors: delving into books, gathering with other folklore enthusiasts, swapping stories, and having great music session around the woodstove.

3. Where do you find peace and quiet?
Not sure right now-- it's been a hard year. I seek peace in the slow intake and release of breath, the comfortable closeness of my partner, the gradually-revealed beauty of our almost-finished house and the slowly-emerging health of our land. Quiet is easier to find than peace--I am thankful every morning and every night that I can begin and end my days surrounded, almost entirely, by natural rather than human-made sounds. (I'll relish the quiet more fully when I can find my missing whetstone and "take care" of a couple of extra roosters, if you know what I mean!)

4. A competitive spirit; good or bad, discuss...
A competitive spirit is like fire: a good servant, a terrible master, and dangerous to play with. I appreciate its ability to overcome inertia and get a person moving towards a goal, but I don't like the way others tend to be left in a person's wake. I should come clean and declare, right here, that I am a vicious card player, but fortunately my commpetitive streak is matched by a tendency toward distraction and terrible bad luck in the dealing of hands.

5. Is there a song a picture or a poem that sums up your passion ?
I've posted links to Richard Hugo's poem, Glen Uig, in previous posts. It captures some of the essential pain and joy of reconnection to one's past. Here's another poem from Cathal O Searcaigh, translated from Irish Gaelic by Gabriel Fitzmaurice:

A Portrait Of The Blacksmith As A Young Artist

I'm sick and tired of Dun Laoghaire.
Of my bedsit in Cross's Avenue,
A pokey place that cripples my wordsmith's craft
And leaves me nightly in the dumps
Scrounging kindred among the drunks
Instead of hammering poems for my people
On the anvil of my mind.
Almighty God! It's gone too far,
This damned silence.
If I were back in Caiseal na gCorr
I'd not be awkward, half-alive.

No way! But in the smithy of my tongue
I'd be hale and hearty
Working my craft daily
Inciting the bellows of my mind
Stirring thoughts to flame
Hammering loudly
The mettlesome speech of my people.

--found in Writing the Wind: a Celtic Resurgence: The New Celtic Poetry, ed. Thomas Rain Crowe.

Bonus for posting a video/ link.
Heeheehee... I thought you'd never ask: CLICK HERE!

If it's nae Scottish...

Ah'm...weel...gobsmacked!

Maine is the landing-place of my immigrant ancestors. My journey here has echoed theirs, in a way, as my settlement here came at the end of a month-long pilgrimage through Scotland's Highlands & Islands, a graduation gift from Celtophile friends. (That was the only time I've ever been to Scotland, but it felt eerily like home. I flew into Glasgow, took the train north, and blythely wandered from one island to the next, taking Gaelic language and music courses along the way.)

Although I will always be "from away," as the locals say, this place has drawn me back and caused me to put down roots. As my circle of Maine friends has grown, so has my delight in the state's strong Celtic connections. I discovered that Cornish fishermen were among the first European settlers in the early 1600s. I found place names like "Edinburg" and "Belfast" and "Wales." Thanks to a long line of Celtic travelers and settlers, Celtic concepts and ideas permeate the fabric of our state's culture and history. Scots words like "muckle" remain in regular usage, though the meaning has shifted. Knowing these things, and knowing my own family's history of immigration from the Scottish port of Ayr to the Maine town of Livermore Falls, I found myself moved to write. My mother's forebears--Border Reivers, rebels and patriots both--demanded a broadside ballad or a song in praise of the homeland. My father's forebears sternly recalled their heredity as brieves or law-keepers. Their ghosts called for justice, for memory's long reach.

English words didn't suit the task. I chose to write in Scots--which felt strangely comfortable, after listening to Scottish folk music and reading Scottish literature for years. Poet David Whyte once described the task thusly: "poetry is the art of saying something to yourself that you find it impossible to go back upon." I read and re-read my work to make sure it fit Whyte's description...and it did. But then I decided to submit it to a poetry contest--the only Scots-language poetry contest of which I knew, a contest that happened to be in, well, SCOTLAND.

Now the poem had to meet a more serious standard. There would be hours of fact-checking before I could take the bold and brazen step of sending the poor shivering little thing to its judgment and probable death. I searched Scots language websites, flipped back and forth through phrasebooks and dictionaries, and feshed michtily ower whether Ah'd done it richt. Finally, I sent the poem off by e-mail, expecting it to be quietly engulfed by, and lost among, the hundreds of other contest entries. It was enough to feel that I'd done something to honor my ancestors, and that I'd put great effort into doing it as well as possible with the tools I had at hand.

Here's the poem I wrote, with a caveat that you may need a good Scots dictionary nearby in order to understand it!

Screevins Frae a Bothy in Maine

Oot ayont Lewis, ayont the last lintin wing-tip
o skirlin seabirds, careenin aff craigs
whaur dings doon the ruddy Western sun,
Oot ayont strath an glen, the Border’s rollin hills,
Cap & Goon Toons & kenspeckle kirkyairds,
(Care-wairn & keekin thro lum-reek,
ash o anthracite, orange pips an chippie-wraps),

Oot ayont Ayr, anely-kent port o farin
For forebears kythed, aye, & aince mair mislaid:
(Anither muddle amang the hantle
O “Mester Robert Morrisons” on the leet…)
West o Edin(burgh), but East o the wind-
scourit Nebraska plains, the Idaho cattle-range,
an Puget Sound’s ain/ither Western Isles,
(Grossets in the kailyairds, rhodies on the braes),
Jiggin frae ane tae the neist, us unsettled settlers,
greetin gaberlunzies & sillerless sangsters seekin
Oor ain bit land:

Here, we upbigg the noo, we wabbit crofters,
Gowkin an pawky by turns,
Gang at it, ettlin, same as ilka Scot, dreyin oor ain weird on the wrang shore,
Jalousin some Grait Trowth
ayont the lint-dross, stanes an slaistered muck o History…
Kythin oor native place wis nivir wrestit, an
Kythin oor anely hame’s aye here:
The far-flung, sky-boundit ruim
O the hale blessit yirth.

--copyright MaineCelt
January 4th, 2008

Earlier this week, an e-mail came from a woman who works at the Glasgow Herald newspaper. Aye, that's Glasgow, Scotland, not just another funny Maine place-name. The poem placed second in their international contest, the first overseas entry to ever win a prize. "Astounded" doesn't begin to describe my response. There are a hantle of Scots words that suit my feelings better, but I'd start with our household favorite, "Gobsmacked."

The poem will be read aloud at a celebratory event in Scotland in November. Although I heartily wish I could attend in person, I don't plan to spend my winnings on a ticket to Scotland--it would go against certain ancestral traditions of frugality, as well as our tightly-controlled farm budget. Instead, I plan to put the prize towards the purchase of a decent laptop computer with the hope that good tools and much practice will produce a better--and more frequent--writer!