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Fruit collected in my secondhand bread-rising bowl.

Today I foraged in a graveyard under a canopy of old, old trees in full autumn fire.

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Marker nearby. Lambs and little angels usually guard children’s graves.

I picked wild persimmons from two little trees that my friend Lauren spotted last year when picnicking with her children.

Harvesting anything has always been a Zen thing for me, and it’s something I like to do alone. I love people—I’m no loner—but I always decline company when I’m picking. It’s a communion with the earth, and I can’t look and listen as well when I’m distracted by chatter.*

In this particular location, I’m utterly surrounded by company, but they’re the quiet sort.

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Persimmon tree in the foreground and graves in the back. American flags are abundant when persimmons are ripe; Veteran’s Day was last week.

I often think of ecology and climate change on excursions like this, on days when I get dirt, bits of twigs, and leaves in my boots. I think of how detached most of us are from the earth. (How can we see the connection between ourselves and the earth when we buy most of our food in fluorescent-lit stores hundreds or thousands of miles from the dirt where it grew? Why would we fight for that dirt when we never see it? We might as well fight for the planet Neptune.)

Years ago I read a quote from a new florist who said the flowers were teaching her what to do. When it’s just me and the trees, it’s very much the same. You get to know a plant when you visit it spring after summer after fall.

When it comes to wild persimmons, I’ve learned they’re smaller than the variety you see this time of year in stores, just about the size of a cherry tomato. They’re not ready to pick until they’re soft and black-burnished and somewhat shriveled. Once the leaves are gone and there’s nothing left on the tree but fruit, they’re usually ripe. But—if I tug on a fruit that’s not quite ripe, if it’s still too smooth and firm, it will resist. Not yet, it tells me. No. Wait.

Any stage actor worth the pantaloons he’s in will tell you there is no power in his performance until there’s an audience, that every breath, gesture, word he puts out there needs a human to tell it to. Acting is not just talking; not even a monologue is just talking. It is always a dialogue between the actor and the audience. It’s another communion. Each needs the other. Each feeds the other.**

This is how it is when I harvest: it’s a dialogue between the plant and me, far more immediate and powerful than if I were to choose that same plant from a store. It teaches me without a word, feeds me, and reinforces the connection between this human and the earth.

Harvesting in a graveyard might be the truest communion with the earth there is; it’s the full life cycle in 360-vision. We pick the food from the earth, one day we will be put in the earth, more food grows and is picked, and the cycle continues.

This is my second and last year harvesting at this beautiful spot, though; the church chaplain gave me permission to pick, but gives me the stink-eye when I do. I will miss these trees, but picking that way mars the experience. She doesn’t know that I thank the trees (I’m a goof, but I really do), nor that I always say hello to the folks that surround them (which I’d do anyway, even if I hadn’t just reread Gaiman’s The Graveyard Book, which I had). She doesn’t know that this is sacred to me. I conveyed my enthusiasm, but it didn’t help.

I’ll keep looking until I find more persimmon trees. And in the meantime, I’m making a pie.

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*I’ll give you one exception: my elderly neighbor brought me along on maybe his 70th year foraging for beach plums, and my first year. He was the pensive type, a hunter, and he went off to one thicket and I went off to another. He got it. The communion thing.

Oh…and this is probably why I never went in for religion. Nothing against it for others, but for me, communion with a great Something is too important to be cluttered up with rules, doctrine, pageantry, and a heap of other people reciting in unison. I need quiet.

**When you see a performance that moves you, please applaud, gasp, laugh, sigh, whatever. For 20 years I’ve stood backstage with anxious actors, and you have no idea how much that feeds them. They thrive on your reactions—honest.

 

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