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Buckeye
by Scott Russell Sanders

   

Listen to Scott Russell Sanders read "Buckeye":
 
  

Years after my father’s heart quit, I keep in a wooden box on my desk the two buckeyes that were in his pocket when he died. Once the size of plums, the brown seeds are shriveled now, hollow, hard as pebbles, yet they still gleam from the polish of his hands. He used to reach for them in his overalls or suit pants and click them together, or he would draw them out, cupped in his palm, and twirl them with his blunt carpenter’s fingers, all the while humming snatches of old tunes.

“Do you really believe buckeyes keep off arthritis?” I asked him more than once.

He would flex his hands and say, “I do so far.”

My father never paid much heed to pain. Near the end, when his worn knee often slipped out of joint, he would pound it back in place with a rubber mallet. If a splinter worked into his flesh beyond the reach of tweezers, he would heat the blade of his knife over a cigarette lighter and slice through the skin. He sought to ward off arthritis not because he feared pain but because he lived through his hands, and he dreaded the swelling of knuckles, the stiffening of fingers. What use would he be if he could no longer hold a hammer or guide a plow? When he was a boy he had known farmers not yet 40 years old whose hands had curled into claws, men so crippled up they could not tie their own shoes, could not sign their names.

“I mean to tickle my grandchildren when they come along,” he told me, “and I mean to build doll houses and turn spindles for tiny chairs on my lathe.”

So he fondled those buckeyes as if they were charms, carrying them with him when our family moved from Ohio at the end of my childhood, bearing them to new homes in Louisiana, then Oklahoma, Ontario, and Mississippi, carrying them still on his final day when pain a thousand times fiercer than arthritis gripped his heart.

The box where I keep the buckeyes also comes from Ohio, made by my father from a walnut plank he bought at a farm auction. I remember the auction, remember the sagging face of the widow whose home was being sold, remember my father telling her he would prize that walnut as if he had watched the tree grow from a sapling on his own land. He did not care for pewter or silver or gold, but he cherished wood. On the rare occasions when my mother coaxed him into a museum, he ignored the paintings or porcelain and studied the exhibit cases, the banisters, the moldings, the parquet floors.

I remember him planing that walnut board, sawing it, sanding it, joining piece to piece to make foot stools, picture frames, jewelry boxes. My own box, a bit larger than a soap dish, lined with red corduroy, was meant to hold earrings and pins, not buckeyes. The top is inlaid with pieces fitted so as to bring out the grain, four diagonal joints converging from the corners toward the center. If I stare long enough at those converging lines, they float free of the box and point to a center deeper than wood.

I learned to recognize buckeyes and beeches, sugar maples and shagbark hickories, wild cherries, walnuts, and dozens of other trees while tramping through the Ohio woods with my father. To his eyes, their shapes, their leaves, their bark, their winter buds were as distinctive as the set of a friend’s shoulders. As with friends, he was partial to some, craving their company, so he would go out of his way to visit particular trees, walking in a circle around the splayed roots of a sycamore, laying his hand against the trunk of a white oak, ruffling the feathery green boughs of a cedar.

“Trees breathe,” he told me. “Listen.”

I listened, and heard the stir of breath.

He was no botanist; the names and uses he taught me were those he had learned from country folks, not from books. Latin never crossed his lips. Only much later would I discover that the tree he called ironwood, its branches like muscular arms, good for axe handles, is known in the books as hophornbeam; what he called tuliptree or canoewood, ideal for log cabins, is officially the yellow poplar; what he called hoop ash, good for barrels and fence posts, appears in books as hackberry.

When he introduced me to the buckeye, he broke off a chunk of the gray bark and held it to my nose. I gagged.

“That’s why the old-timers called it stinking buckeye,” he told me. “They used it for cradles and feed troughs and peg legs.”

“Why for peg legs?” I asked.

“Because it’s light and hard to split, so it won’t shatter when you’re clumping around.”

He showed me this tree in late summer, when the fruits had fallen and the ground was littered with prickly brown pods. He picked up one, as fat as a lemon, and peeled away the husk to reveal the shiny seed. He laid it in my palm and closed my fist around it so the seed peeped out from the circle formed by my index finger and thumb. “You see where it got the name?” he asked.

I saw: what gleamed in my hand was the eye of a deer, bright with life. “It’s beautiful,” I said.

“It’s beautiful,” my father agreed, “but also poisonous. Nobody eats buckeyes, except maybe a fool squirrel.

I knew the gaze of deer from living in the Ravenna Arsenal, in Portage County, up in the northeastern corner of Ohio. After supper we often drove the Arsenal’s gravel roads, past the munitions bunkers, past acres of rusting tanks and wrecked bombers, into the far fields where we counted deer. One June evening, while mist rose from the ponds, we counted 311, our family record. We found the deer in herds, in bunches, in amorous pairs. We came upon lone bucks, their antlers lifted against the sky like the bare branches of dogwood. If you were quiet, if your hands were empty, if you moved slowly, you could leave the car and steal to within a few paces of a grazing deer, close enough to see the delicate lips, the twitching nostrils, the glossy, fathomless eyes.

The wooden box on my desk holds these grazing deer, as it holds the buckeyes and the walnut plank and the farm auction and the munitions bunkers and the breathing forests and my father’s hands. I could lose the box, I could lose the polished seeds, but if I were to lose the memories I would become a bush without roots, and every new breeze would toss me about. All those memories lead back to the northeastern corner of Ohio, the place where I came to consciousness, where I learned to connect feelings with words, where I fell in love with the earth.

It was a troubled love, for much of the land I knew as a child had been ravaged. The ponds in the Arsenal teemed with bluegill and beaver, but they were also laced with TNT from the making of bombs. Because the wolves and coyotes had long since been killed, some of the deer, so plump in the June grass, collapsed on the January snow, whittled by hunger to racks of bones. Outside the Arsenal’s high barbed fences, many of the farms had failed, their barns caving in, their topsoil gone. Ravines were choked with swollen couches and junked washing machines and cars. Crossing fields, you had to be careful not to slice your feet on tin cans or shards of glass. Most of the rivers had been dammed, turning fertile valleys into scummy playgrounds for boats.

One free-flowing river, the Mahoning, ran past the small farm near the Arsenal where our family lived during my later years in Ohio. We owned just enough land to pasture three ponies and to grow vegetables for our table, but those few acres opened onto miles of woods and creeks and secret meadows. I walked that land in every season, every weather, following animal trails. But then the Mahoning, too, was doomed by a government decision; we were forced to sell our land, and a dam began to rise across the river.

If enough people had spoken for the river, we might have saved it. If enough people had believed that our scarred country was worth defending, we might have dug in our heels and fought. Our attachments to the land were all private. We had no shared lore, no literature, no art to root us there, to give us courage, to help us stand our ground. The only maps we had were those issued by the state, showing a maze of numbered lines stretched over emptiness. The Ohio landscape never showed up on postcards or posters, never unfurled like tapestry in films, rarely filled even a paragraph in books. There were no mountains in that place, no waterfalls, no rocky gorges, no vistas. It was a country of low hills, cut over woods, scoured fields, villages that had lost their purpose, roads that had lost their way.

“Let us love the country of here below,” Simone Weil urged. “It is real; it offers resistance to love. It is this country that God has given us to love. He has willed that it should be difficult yet possible to love it.” Which is the deeper truth about buckeyes, their poison or their beauty? I hold with the beauty; or rather, I am held by the beauty, without forgetting the poison. In my corner of Ohio the gullies were choked with trash, yet cedars flickered up like green flames from cracks in stone; in the evening bombs exploded at the ammunition dump, yet from the darkness came the mating cries of owls. I was saved from despair by knowing a few men and women who cared enough about the land to clean up trash, who planted walnuts and oaks that would long outlive them, who imagined a world that would have no call for bombs.

How could our hearts be large enough for heaven if they are not large enough for earth? The only country I am certain of is the one here below. The only paradise I know is the one lit by our everyday sun, this land of difficult love, shot through with shadow. The place where we learn this love, if we learn it at all, shimmers behind every new place we inhabit.

A family move carried me away from Ohio 30 years ago; my schooling and marriage and job have kept me away ever since, except for visits in memory and in flesh. I returned to the site of our farm one cold November day, when the trees were skeletons and the ground shone with the yellow of fallen leaves. From a previous trip I knew that our house had been bulldozed, our yard and pasture had grown up in thickets, and the reservoir had flooded the woods. On my earlier visit I had merely gazed from the car, too numb with loss to climb out. But on this November day, I parked the car, drew on my hat and gloves, opened the door, and walked.

I was looking for some sign that we had lived there, some token of our affection for the place. All that I recognized, aside from the contours of the land, were two weeping willows that my father and I had planted near the road. They had been slips the length of my forearm when we set them out, and now their crowns rose higher than the telephone poles. When I touched them last, their trunks had been smooth and supple, as thin as my wrist, and now they were furrowed and stout. I took off my gloves and laid my hands against the rough bark. Immediately I felt the wince of tears. Without knowing why, I said hello to my father, quietly at first, then louder and louder, as if only shouts could reach him through the bark and miles and years.

Surprised by sobs, I turned from the willows and stumbled away toward the drowned woods, calling to my father. I sensed that he was nearby. Even as I called, I was wary of grief’s deceptions. I had never seen his body after he died. By the time I reached the place of his death, a furnace had reduced him to ashes. The need to see him, to let go of him, to let go of this land and time, was powerful enough to summon mirages; I knew that. But I also knew, stumbling toward the woods, that my father was here.

At the bottom of a slope where the creek used to run, I came to an expanse of gray stumps and withered grass. It was a bay of the reservoir from which the water had retreated, the level drawn down by engineers or drought. I stood at the edge of this desolate ground, willing it back to life, trying to recall the woods where my father had taught me the names of trees. No green shoots rose. I walked out among the stumps. The grass crackled under my boots, breath rasped in my throat, but otherwise the world was silent.

Then a cry broke overhead and I looked up to see a red-tailed hawk launching out from the top of an oak. I recognized the bird from its band of dark feathers across the creamy breast and the tail splayed like rosy fingers against the sun. It was a red-tailed hawk for sure; and it was also my father. Not a symbol of my father, not a reminder, not a ghost, but the man himself, right there, circling in the air above me. I knew this as clearly as I knew the sun burned in the sky. A calm poured through me. My chest quit heaving. My eyes dried.

Hawk and father wheeled above me, circle upon circle, wings barely moving, head still. My own head was still, looking up, knowing and being known. Time scattered like fog. At length, father and hawk stroked the air with those powerful wings, three beats, then vanished over a ridge.

The voice of my education told me then and tells me now that I did not meet my father, that I merely projected my longing onto a bird. My education may well be right; yet nothing I heard in school, nothing I’ve read, no lesson reached by logic has ever convinced me as utterly or stirred me as deeply as did that red-tailed hawk. Nothing in my education prepared me to love a piece of the earth, least of all a humble, battered country like northeastern Ohio; I learned from the land itself.

Before leaving the drowned woods, I looked around at the ashen stumps, the wilted grass, and for the first time since moving from this place I was able to let it go. This ground was lost; the flood would reclaim it. But other ground could be saved, must be saved, in every watershed, every neighborhood. For each home ground we need new maps, living maps, stories and poems, photographs and paintings, essays and songs. We need to know where we are, so that we may dwell in our place with a full heart.

   
  

Scott Russell Sanders lives in southern Indiana, where he has written 20 books of fiction and nonfiction, including A Private History of Awe and A Conservationist Manifesto. The best of his essays from the past 30 years, plus nine new essays, are collected in Earth Works, published this spring by Indiana University Press.
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This excerpt is from Earth Works: Selected Essaysby Scott Russell Sanders, © 2012. Reprinted by permission of Indiana University Press and the author. It originally appeared in Orion 14, No. 2 (Spring 1994).

Earth Works: Selected Essays by Scott Russell Sanders

In the hands of award-winning writer Scott Russell Sanders, the essay becomes an inquisitive and revelatory form of art. In 30 of his finest essays — nine never before collected — Sanders examines his Midwestern background, his father's drinking, his opposition to war, his literary inheritance, and his feeling for wildness. He also tackles such vital issues as the disruption of Earth's climate, the impact of technology, the mystique of money, the ideology of consumerism, and the meaning of sustainability. Throughout, he asks perennial questions: What is a good life? How do family and culture shape a person's character? How should we treat one another and the Earth? What is our role in the cosmos? Readers and writers alike will find wisdom and inspiration in Sanders's luminous and thought-provoking prose.
  

 
     
    
  
 
   
    
  
 
   

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