Miles and Miles of Flat Sameness

66  bar steady 29.92 0mph N dew-point 58  Summer night

Waning Crescent of the Flower Moon

The drive into the MIA this afternoon was the first time I’d driven any distance since the long trip to Alabama.

Sheila gave a walking lecture on the African check out tours.  She showed pieces in Egypt, then the Nok figure, the Ife Shrine head, the Benin head.  She spoke briefly about the linguist’s staff, the kente cloth, the elephant tusk and the leopard. It was a usual well-informed presentation.  Sheila knows the African collection in some depth.  She tried to provide so-called Pan African ideas, but I didn’t find any of them unique to Africa.

Africa, like Asia and North America, is a land mass, not a cultural designation.  It has, like Asia and North America, a bewildering variety of indigenous peoples, colonial adventures, global corporate interests and all this mixed now in the stew of politics referred to as developing nations.  Seeking for identifiers by continent,  across Africa, for example, is like seeking for unity across Asia or North America.  It is a category mistake.  Continents do not have cultures, people do.  To maintain that somehow Algiers and Tunisia share a common cultural underlayment with, say, the Zulu or the Ashante or the Tutu or the Masai attempts to shoe horn disparate peoples in a too tight continental shoe.

Kate and I watched There Will Be Blood tonight.  This is a powerful movie with mythic overtones.  The push for oil, the mania required to build an oil company or a church, the violence of men competing for power and money and the interlocutor of the barren land combine in a peak at the roots of contemporary American society.

Much of the filming was done near Marfa, Texas.  Marfa is the location of Donald Judd’s open air show places.  It is a unique town, a place a reporter for the Ft. Stockton newspaper told me is “Taos fifty years ago.”  She didn’t see this as a good thing.

The land in the movie is bleak.  Until my trip to Imperial, Texas a few years ago to see our land I hadn’t understood why people would say West Texas and shake their head.  It is mesquite, sand and rattle snakes.  In a few places, for a time, there was oil and natural gas.  There is a stark beauty to it, a beauty similar to the high plains, miles and miles of flat sameness, broken at the horizon by low mountains and foot hills.

More garden work tomorrow.  Get the red car, too.  The heads were delayed at the machine shop.

Ramblin’ On

81 bar falls 29.98  1mph SE dew-point 47  Summer, hot

Waning Crescent of the Flower Moon

Give me the beat boys and free my soul, I want to get lost in your rock and roll and drift away.  Talk about rock anthems.  I heard this on the way into the MIA today and it had me pounding the roof.  Music can take your spirit and yank it around, up and down, deep into the past or put you right in this moment.  Just before I heard Give me the beat, the dj(are they digital jockeys now?) played Somebody to Love.  Man, that one always throw me right back to college.  Grace Slick, lsd, radical politics, sex and, oh yeah, classes.

Once in awhile I get into a golden-oldie phase (now that I’m becoming a golden oldie myself).  This often results in the purchase of CD’s.  Nobody buys them anymore except us old folks who were dragged kicking and screaming from the vinyl disk.  The ironic thing of course is that the younger generations do not buy CD’s, but they do buy vinyl disc.

So I have Surrealistic Pillow, the Jefferson Airplane’s first album.  I also have 3 disc collections of Janis Joplin, Bob Dyland and Joan Baez.  I have not, for some reason, purchased any of the Beatles or Led Zepplin or the Doors, all favorites of mine at the time.  There’s a Dead album or two.  In general though the lectures from the Teaching Company or the audio books from the library take up the car time now in which I listened to music.

I attended the St. Paul Chamber Orchestra for over 20 years.  I met Kate there, but we haven’t been for many years.  Sleep comes  too easily in warm, dark places with soothing music.  Then there’s the drive.  This means that my life is unusually music poor right now.

Descaping the Garlic

76 bar steady 30.05  0mph NW  dew-point 46  Summer, hot

Waning Crescent of the Flower Moon

The heirloom tomatoes we have growing, started from seed inside, required more support.  They have sent out thick branches from the central stalk, already within a tomato cage.  As fruit develops on them, they will sag and break or their fruit will dangle on the soil, going rotten before we can pick them.  At the same time, a few daisies had decided on a straggly path toward the grass, so I put support around them, too.

The garlic. Sigh.  I harvested four garlic plants yesterday.  They had not grown into large, juicy bulbs as I had imagined, but instead looked like large green onions, very large.  I read the culture instructions again.  I had forgotten to cut back the scapes, a curly stalk that shoots up from the center of the main stalk.  It carries the flower.  Allowing it to get much more than 10″ long discourages bulb production.  Makes sense.  If I’m gonna propogate by seed, why bother storing energy below the soil.

In a belated attempt to make up for lost ground I descaped all the garlic and will let the remaining plants sit in the soil a while longer, though I suspect my fantasy of large garlic bulbs grown in my own garden will have to wait until next summer.   All of gardening is a constant experiment, learning this from the plant, then that from the soil, again the message of the sun, then the gentle language of rain.  Like intimate relationships gardening requires close listening and a willingness to admit when you have erred.

My first visit to the MIA since May comes today when I go in for a refresher on the Africa galleries.  We have this one last check-out tour to give.  After it, we will be able to give tours of Africa only if requested.  I’m looking forward to getting back to the museum after a good time away.  No tours for me until September and I’m glad, still I miss the constant interaction with the art and the folks around the museum.