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Leatherback Endangered

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Leatherback Endangered

Crack up and out, shake
fragments of egg off the face.
use the largest shells as backbone,
as home. creep across dank, damp sands
to undulating ebb of rip current and flow along
swift Atlantic gulf stream. reptile devouring sea
urchins and jellyfish, swim expertly, gain strength.
witness an unquenchable ocean swallowing endless
blood-orange days. after lost years at sea, answer
compulsion to procreate. propel swiftly, migrate
to natal shores. emerge a neophyte, scraping
flippers across sand. excavate holes. lay
mounds billiard-sized eggs, precious
hatchlings, a banquet of beginnings
or predator’s feast. assemble
survivors, rinse off death
splatter and repeat.

Poachers,
black market
collector of eggs
for aphrodisiac or
poached for musky
aftertaste. fisheries by-
catch, tangled in gear
and ropes. captured
by floating debris.
eat plastic bags.
lose habitat.

Painting by Su Rogers showing many fish, two cows, a bee and the ocean.

we have bitten the lips of the divine by Su Rogers

Shifting Landscape

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The moment I knew it was time to give up sheep farming is etched into my memory. It was late February and lambing season. Checking the barn, I saw a ewe straining. She was trying to birth her lamb, but the lamb’s knees had gotten jammed behind her pelvic bones so that its head was out and swollen. I caught the ewe, carefully reached in, released the lamb’s legs, and pulled it out. I placed the lamb at the mother’s nose, and she started to clean it off while I pulled out the twin.

The second lamb got to its feet immediately, and so did the mother, turning her attention away from the limp first-born, whose head was so swollen that it couldn’t get its balance to stand. The mother’s attention might get it to its feet, but I could also take it inside the house to keep it warm, feed it, and give it time to get the swelling down. Experience said that if I did that, I’d have a bottle-lamb on my hands. I knew I could not handle that task again.

Earlier that year, in January, the same thing had happened. Inside the house, the lamb took all day to get to its feet, and I fed it with a bottle until it did. When it went back to the barn, we made four trips a day to feed it. Back in January, my eighty-year-old husband did half of those trips.

Now, with snow drifted to my waist, filling back in any path I made, he was not able to get to the barn at all. With my off-farm job and doing all the barn work and dealing with the mountain of snow, I could not handle four trips a day to feed one lamb. I walked away, leaving the lamb where it was.

When I went back a couple hours later, driven to check on it, the lamb was on its feet. The mother had done what was needed. But I had not intervened. It was time to quit farming if I could not do what needed to be done.

Six months later, we sold the farm: three hundred acres, two old barns, and a two-storey century home. We left the care of the land in the competent hands of dairy farmers. We suspected that they would take out the fence rows, thereby also taking out habitat for birds, squirrels, mice, and rabbits and removing trees that captured carbon, but they would work the land with sustainable agricultural practices. We bought a bungalow with a finished basement and a decent-sized lot on the shore of Georgian Bay.

When we took possession of the bungalow, the first thing I did was transplant roots, bulbs, and corms from our farm garden into the new garden. The comfrey and orange lilies I had inherited from the family that had settled and maintained the farm before us. Irises came from the home my husband grew up in and from my parents’ garden. The allium and other lilies I had planted. In each case, I took just part of the root, a few of the bulbs, ensuring the plants would still be there for whoever lived in the farmhouse. And for the wild things that ate from them.

Painting by Brenda Whiteway showing a woman in a doorway, floral wallpaper, and the roots of a plant outside.

Years Passing / Years Beginning by Brenda Whiteway

In our new house, I planted Jerusalem artichoke and the comfrey, loved by pollinators and hummingbirds, out near the road, a place where they could spread without crowding other plants. With the first lilies I put in the ground, also out by the road, I realized that the soil of our new location was clay; I mixed in generous amounts of compost. When I moved to the place I had chosen for the irises, closer to the house, my trowel bounced when I tried to dig. I cleared the mulch and uncovered landscape fabric.

I stopped. I investigated the rest of the yard. I found that under the gravel on the paths was black fabric. Under the mulch around the trees was fabric. Between the hydrangeas, around the ninebark and Russian sage, everywhere, the ground was covered with fabric. Wild asters and colts foot had found enough soil in the mulch to grow above the fabric, but no roots reached through.

I went back to plant the irises by cutting through the fabric. I found dead, grey clay. No worms or insects or roots of any kind. I ripped the hole bigger and put in a substantial amount of composted manure and planted the irises. I worried they wouldn’t survive.

The loam on our farm had been fertile. With plenty of manure to spread and a rotation that included alfalfa and trefoil, the ground was productive. Also, with forty acres of bush and thick fence rows, our carbon footprint was pretty well zero. What we put in the air our trees absorbed. But what about now on my little parcel of land? I wondered what mitigation strategies I could take up in this location.

About this time, I came across an article in a farm magazine about capturing carbon in soil. I realized that although I had much less land, I could intensify my practice and capture carbon in the ground. If I removed the fabric barrier that kept the clay dead, I could regenerate the soil, encouraging plants to flourish. I could capture carbon in living plants and soil as well as the trees on our lot.

That fall, I raked leaves off the lawn and into the garden. I dug them into the ground. Come spring, I carefully cut the fabric and lifted it without uprooting the plants. I dug in the mulch as well as some of the wildflowers that grew in it and were taking over. I planted snow peas around an ash tree. The next year, I decided, the peas would go near the irises. The year after around the lilac tree. They would put nitrogen in the soil while growing, feed us when the pods matured, and get dug into the ground when they were done.

I started a composter. I carefully avoided putting meat into it, as there is a bear and a fisher living near enough, and a fox who visits regularly. The first batch of compost made a tea to be used to water the vegetables. The next batch got dug into the hard ground where I planted the day lilies and old-fashioned roses.

The previous owner left me heavy cement pots. These I filled with herbs, coriander and basil, parsley and oregano. I picked up more pots at the thrift store to plant tomatoes and peppers that I grew from seed under LED lights in the basement. I planted borage in pots and in the empty space behind the shasta daisies, flowers for the bees, and leaves for our salads. I created a small terraced garden for beets and lettuce and zucchini. I don’t grow as many vegetables as I did in the farm garden, but for two of us there are salad greens and some good home-grown veggies. I planted two apple trees. It will be years before they produce, but there will be apples here. Not the wild ones I’ve come to love, but good fruit.

There was a lot to learn. I knew I had to water the potted plants, but I forgot they needed fertilizer more often. That compost tea has come to good use. The climate is different by the bay, with spring coming later. But fall lingers as well. There is a lot of shade, something I did not have on the farm. I’ve marked the sunny spots for next year’s planning.

I’m learning to live with the birds here too. The blue jays and squirrels compete over the sunflower seeds. The squirrels spill the seed for the wild turkeys and a couple mallard ducks who waddle up from the shore. We have no barn swallows but the hummingbirds love the flowers, especially the comfrey as it spreads.

I needed to turn away from farming, to leave the livestock and the buildings I could no longer maintain. I miss the acres of land. But I am still a farmer who watches the weather and notices how the shifting patterns affect what grows. And here, on this bit of shoreline, I do what I can to bring life.

Polar Bear in the Grocery Store

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Polar Bear in the Grocery Store

One night, at the height of winter,
a polar bear swam the widening ocean that
drowned her mother. She paddled, heavy with
grief and her wet white coat.
Overhead, the snowless sky was dark
and the air was hot.

When she found land,
she was still without bearings,
carrying hunger inside her
like an empty vessel. The ground
stretched south before her,
an alien green expanse.
Bugs buzzed and tugged at her skin
as she walked past the strewn flesh of
silver foxes, the scattered carcasses of
caribou, and the bedraggled nameless bones.

She arrived, at last, at the nest of scavengers and
hung in the shadows, watching two-legged animals
guarding a stolen hoard. They stared, and they ate,
and made pitiless noise.
The bear lurked by the building
where they kept their food, the place where
light became heat and wood was the only
memory of trees. She waited for them to sleep.

In darkness, she broke in,
and crept through aisles seeking answers.
It took her only minutes
to cross to the far side of the store,
where she found the missing fish
and all of the ice.

Artwork by Jane Whitten. "Pack Ice" shows plastic blister packs crocheted together with fishing line

Pack Ice by Jane Whitten. Crocheted fishing line and blister packs.

Theories of Nature

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Theories of Nature

Let me tell you this bright and
twisting thing. The natural world dictates

letters for its secretary
to transcribe, just as the squirrel

with the white ears takes pains to
pivot on its upstage leg, and a robin

turns sideways to imitate Alfred
Hitchcock in a cameo: I Confess.

Auteur theory is for the birds and as
curved and worn as driftwood.

Transcendence is as big as life and
twice as unnatural, if you’ll pardon

my saying, my gelid eye.
Backlash your I before you eyelash

your back. Once more with feeling:
your transcendence is none of my

beeswax. Uncertainty’s a gateway
drug; soon you’re mainlining

anodyne. If you doubt realness, try this.
Shimmy up a tree. Now fall out.

Concrete is the great leveller;
there’s no placebo like it. Tell me

what you ate for breakfast because eggs
are the central metaphors I can’t make

work, though I’ll concede
with the best birdwatchers

that boredom is the most
important meal of the day.

Painting by Ann-Marie Brown showing a tree partially submerged in water.

Arbutus Reaching by Ann-Marie Brown

The Sixth Extinction: a lament

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The Sixth Extinction: a lament

to the tiny ones
     Caribbean Monk Seal Nasal Mite
and the nameless ones
     a frog from Sri Lanka
to the sleek-skinned water dwellers
     Yangtze River Dolphin
and the dog-faced winged ones
     soaring in the dusk
     Small Samoan Flying Fox

to the feathered-toed snow-walkers
     Upland Moa
and the bushy-tailed nest-makers
     high up in the hollow eucalyptus
            White-footed Rabbit-rat

to the horrible ones
     Alvord Cutthroat Trout
and the homely ones
    with long nostrils
     Santa Cruz Tube-nosed Fruit-bat
    and teeth askew
     Twisted-toothed Mouse

to the travellers
     Ukrainian Migratory Lamprey
the weavers
     Cascade Funnelweb Spider
the sticky-tongued ant-eaters
     rusty Numbat

to the fantastical
     Ilin Island Cloudrunner
and the magical
     Florida Fairy Shrimp

to the pouched ones
     Tasmanian Wolf
     muzzles gaping wide with their last mournful cries
for all the ones lost
and all the ones to follow

Black and white photo by Sara Harley showing birds in a desolate field.

Desolation by Sara Harley