[Root Necklaces :: sterling silver and curious cuts of imperial jasper that look suspiciously and beautifully like cross sections of trees :: I SWOON!]
“She would sing the forest eternal. She would place her body in the womb of trees. She would bleed into the earth. She would place her bare feet onto moss and spiked pine needles, peat and mud, and up between her toes and through her pores would ooze the rich dark syrup of mother earth, and over her ankles would swarm tiny insects, and around her shoulders would float the exquisite flowy drapery of her green hemlock cape. She would take great gulps from slender bars of silver light, forest filtred, like incandescent strands of old woman’s hair. She would bow to the sturdy white pine, the brave, pioneering alder, the cooling sitka spruce, the mighty Douglas fir, the sorrowing hemlock, the sheltering maple, her beloved cedar. She would bow to the Wild Cedar Woman who dwells in the forest. She would hold her wooden hand, sing her wild huu, huu, and put herself back together again and again. She would drink the forest liquids and drench herself in possibility.”
[Susan Vreeland :: The Forest Lover]
Oh, heck. I wish I had written that. But someone else did. This is the final paragraph in Susan Vreeland’s book, The Forest Lover, which I read earlier this summer. That final paragraph was filled with such feeling. The whole book was great, once I got into it, but that final paragraph was such an anthem, such a glorious uprising of emotion and beauty and strength…I was changed by it, charged by it.
Have you read this book?
Go get a copy.
Then order all of Emily Carr’s (the beloved Canadian artist) writings, especially her collected journals, and dig in. I’m, well, I’m obsessed. I get that way with published journals though…it’s almost a vice.
Love and trees,
The Plume