Stories looking for home

We writers are always talking about the importance of stories. Of the ways in which stories reflect a culture back to itself – for teaching, for entertainment, for the record. For thoughtful commentary. So we’re always tickled to find anyone who agrees. Especially a couple of law professors. Of course common law is really based on old stories, so I guess it makes a kind of sense.

In “Indigenous Law and Legal Pluralism”, Val Napoleon and Hadley Friedland illustrate ways in which indigenous legal traditions can be respectfully accessed by “applying legal analysis and synthesis to … stories, narratives, and oral histories.” (Napoleon and Friedland are part of a movement trying to build a bridge between indigenous and western legal traditions. Val is the director of the Indigenous Law Research Unit at UVic; Hadley was its research director until last year.)

The article opens by quoting George Blondin from When the World was New: Stories of the Sahtu Dene:

It used to be that every family with a living grandfather or grandmother possessed a storyteller from another time. The duty of storytellers was to tell stories every day. That is why Dene tradition is so complete, as far back as the days when [Naá]cho–giant now-extinct animals–roamed the world.

Over the years, we have heard many stories from the Driftwood watershed. The year Cronin mine mailman Joe Pekoe was killed in an avalanche. Other men killed in sawmill accidents. The time Katherine Harvey stole her husband Peavine’s chimney from his cabin beside his mine workings because she and their son Gordon had run out of money. Instead of coming home, he had her charged with theft and she spent the winter in jail in Vancouver (this may be apocryphal as there’s also a story about him breaking an arm and Katherine using a stove pipe for a splint). The time two women stood outside the foreman’s cabin in Silverking Basin at night at 30 below, their ski boots in their hands, ready to depart because they got the old airtight burning so hot it was a reverberating bright red.

Hadley and Val conclude “Indigenous Law” with a reference to a statement in Harold Norman’s article, “Crow Ducks and Other Wandering Talk”. Creek elder John Rains saw ten dead and mangled crows on the snow in the bush: “Some story will come along and find those crows, and use them,” he said.

Norman continues:

To the Cree, stories are animate beings. One could tell a biography of a single Cree story (which would be a story in itself) just as one could tell the natural history of an animal.  In this respect, one could ask, What do stories do when they are not being told? Do they live in villages? Some Cree say they do. Do they tell each other to each other? Some Cree say this is true as well. Certain stories live out in the world, looking for episodes to add to themselves. Therefore, we can understand John Rains’ belief that eventually a story would find the torn crows. Later that story would find a Cree person, inhabit that person awhile, and be told back out into the world again.

What a tantalizing concept for a writer! Stories do seem to find themselves, to create themselves and some of us are lucky enough (or not) to be inhabited by them. Think of the possibilities.

Now think of all that stories that might find their way into the creek: the water running, slipping and sliding down, down, down as it always does, some splashed up into the air, some going down your thirsty throat, some pausing in a back eddy or a quiet pool. It parts and connects, parts and connects in a most lively manner. Think of the stories swirling down its path to find their way out into the world.

The time our neighbour, in the wild spring freshet, launched his canoe, paddled down to the fossil beds, and survived. You’ve heard that expression, three sheets to the wind? Years later, we found a half-crushed canoe beside the creek. Not his, he swears. I still have a piece of it my office. Now I know why I’ve kept it all these years. I’m waiting for its story to stop by and pick it up.

Think of the gossip in every back eddy.

Did you see the moose stumble and fall? Ah yes, that moose is nothing but bones now and see, here comes a trickle of its blood. Did you see us tear that bridge right off its footings? Oh yes, we shoved it right up against that house, they were all asleep and we scared them silly. Remember those kids throwing rocks for the big red dog, how he scrabbled to retrieve them? The mud he churned up? Well, here he comes, look out!

And swoosh, those molecules of hydrogen and oxygen are thrown back into the melee, molecules that held shape and form in three dimensions, snow that held a preening whiskey jack, snow that was eaten and pissed out by goats, by moose, by thirsty skiers and sawyers.

Remember, says the muddy stream, thick with memories, carrying a spruce branch drunken with sorrow, travelling together long enough to tell about the mittens snagged on the branch, the smell of wet wool bringing back the spruce’s memory of the sawyer stripping off his shirt in the heat of the work and tossing it down on top of the tree when it was barely bigger than a twig, and now the branch is useless, no needles, no purpose, a forgotten vestige broken off in a skier’s passing, dropped onto the snow on top of the ice and here it is telling the creek about the smell of horses, of diesel and the cries of working men.

Around and around it all goes until something – a pebble tossed, a rubber boot slipping off a stone, a fox bending to drink – sends it all off again, the water and the stories together.

And this time of year, the whole world, it seems, is dripping and melting and water is trickling, burbling, sending little creeks running through the woodshed, under the deck, down into the garden, into the pond, under the road and into the still half-frozen creek. Past the old spruce tree where raucous crows are nesting. Everywhere, winter stories looking for a home.

 

The stories I miss – the ones I hear only as rumours – are Wet’suwet’en stories: rumours of sacred places, of marmot hunts, of goats, of the vanished caribou. C’ide’ Yïkwah or Driftwood Creek marks the division between two territories, that of Wos of the Gidimt’en Clan and that of Ut’akhgit of the Likhsilyu Clan, a name currently held by Henry Alfred. You know it carries many stories. It’s time to listen up.

“Indigenous Law and Legal Pluralism” appears in a special issue of the McGill Law Journal, 61:4.

Christine Holland Buchholz – Ggunek (Hummingbird) Dec. 24. 1931 – January 20, 2017

Joe L’Orsa used to tell us we lived in Upper Driftwood, a joke to make sure we didn’t take ourselves too seriously. But I have to admit, it’s when I turn off the Telkwa Highroad onto Driftwood Road, onto the section of road that follows the creek from the schoolhouse right into Silver King Basin, that’s when I feel most at home. Of the nine families that lived along Driftwood Road when we arrived, four are still here. One of the most recent departures was that of Christine and Herb Buchholtz; they moved out of their small cabin into their granddaughter Cinamon’s house at Moricetown. I think of all of us, they were here first. Which makes sense in a way because Christine, who passed away in January, was Wet’suwet’en and her people have been here for thousands of years.

The family prepared a wonderfully detailed biography of Christine and I have, with their permission, excerpted much of it here.

Christine was born in Smithers, the oldest of five children. Her mother was Esther Baptiste of the Laksilyu (small frog) clan; her father was Joshua Holland of the Tsayu (beaver) clan. Her grandparents, Jean Paul and Sarah Baptiste refused to be relocated to Moricetown; the reserve established at their homesite on Babine Lake Road is named after them. Christine did not have any formal education. Her grandmother chased the priest away with a stick and did not allow her to attend any residential schools. She received the best education a person can ever have – to be taught by her parents and grandparents. They taught her how to carry herself with confidence in the feast hall, how to care for her children and husband.

She met Herb Buchholz in 1957. They married in 1962 and were together until her death this winter. They made their home in Driftwood Canyon where they raised their eight children and three of their grandchildren.

Daughter-in-law Heather Buchholz told me that in the very early seventies, Herb had heard there was a cheap cabin for rent out there, by a guy named Gerry Langen. Eventually Langen sold the property to Hans Tugnum [who still lives across the creek], and moved back to Saskatchewan. Their original neighbours, before Sonja and Richard Lester, were a young hippy guy named Thor (who dad used to get quite a kick out of), and Andrew George, who ran for mayor one year, also rented a cabin on some adjacent property.

I remember seeing the grandkids, Cinamon and David, walking to the school bus stop; later Herb and Christine would drive up to the corner to get another grandchild, Damian, off to school. They’d be there waiting for the bus in the afternoon. We’d often chat when we stopped to pick up our mail.

Their cabin had no running water or electricity. Christine helped haul water and kept the house nice and cozy. She always had big meals prepared for her children. Her routine was grocery shopping on Fridays and laundry on Saturdays. She would wash the clothes at a laundromat and bring them back to hang on her clothes line.

Christine loved nature. They had a huge fire pit and every evening the family would gather, telling stories until late at night. Herb would tell stories and Christine really loved that. Herb was German. Two of his sisters came and fell in love with the family and to this day exchange letters and pictures.

Both Christine and Herb always made Christmas beautiful at the cabin. They never forgot birthday parties and all of the other festivities throughout the year. Christine loved to travel, take weekend trips, take the kids camping, even to go out for a load of wood. She just loved to be outside.

They would take trips to Vancouver to visit family. Her favorite places were Stewart, Cook Lake, Telkwa Highroad area, Barkerville and Hankin Lake. They would go to Hankin Lake every year as a memorial trip in celebration of life of their late son Werner. She loved going to Barkerville hotel to play the slots and have breakfast. She always won their meat draws and enjoyed their clam chowder at the Barkerville Legion.

When their son, Lester, started playing hockey, they built a huge outside rink so the boys could play and practice hockey. Christine was the loudest fan when Lester played for the Smithers Totems and Moricetown Canyon Bears. They followed the Smithers Totems when they travelled to Kitimaat, Houston and other tournaments. They were proud number one fans.

Christine worked at the cannery in Prince Rupert. She also worked with the nuns at the Smithers hospital. She would sterilize the surgical instruments, wash and re-roll the gauzes. She also worked at the nursery in Telkwa. She liked to sketch native art work, kind of primitive bows and arrows, warrior figures. A couple of years ago, she joined the moccasins-making workshop at the Friendship Center. She made two pairs and gave them to her daughters-in-law.

Cinamon recalls Freda Huson’s drumming group with Molly Wickham singing the Grouse song, which was Christine’s favorite song; she started crying and told her story about how her grandmother used to sing that song for her. Christine was a firm believer in traditional food such as bear grease, ooligan grease, wildlife food. She thought that people would be healthier if they ate more traditionally. She taught Heather how to pick soap berries.

One day I was driving to work very early in the morning. Just at the curve of the road near their driveway, I saw a deer had been killed by a car. It was still warm. Not wanting to leave it there, I went down to the cabin and knocked on the door, thinking Herb and Christine might be able to salvage its meat. Herb opened the door and, as I explained about the deer, the warmth from the cabin rolled out around me and I saw Christine sitting up in bed, like a sleepy queen. I’ve never forgotten the warmth I felt there and was reminded of it when I read this:

Her granddaughter Cinamon recalls how she would start putting on her makeup and put on perfume and nice clothes every day. Cinamon asked her, “Are we going somewhere, Grandma?” Christine told her no, Daddy will be home soon and I want to be beautiful for him. She taught her children all the wisdom she received from her home schooling. She always told them to never leave the children alone and always try to look their best. Christine loved to buy expensive jewelry and beautiful things. If she couldn’t afford them, she would arrange payment plans and pay for all of her items. She was a devoted Avon customer.

Elvis Presley was her idol. She loved his music and passed that love onto her children and grandchildren. She would attend any Elvis impersonators whenever she could.

When her daughter-in-law Darlene took her name at the feast hall she was very supportive and helped her with the preparations. She was proud of her accomplishments and how she carried herself at the feast hall.

We were always impressed with the family’s resilience through many losses; the children’s and grandchildren’s testimonials at Christine’s funeral speak to the warmth and generosity she provided and how she and Herb made their tiny cabin an oasis of stability in a complicated world.

 

__________________________________________________________

We love to tell a story that reflects Herb’s ability with the internal combustion engine. The number of cars, trucks and buses on the property finally became a bit of a concern and Hans Tugnum had many of them hauled away when Christine and Herb moved to Moricetown. But Herb always seemed like a wizard to us: one evening in the depth of a 1980s winter, when we were still driving an old Scout, the thing just died and we barely managed to coast over to the side of the road on the hill heading down to Canyon Creek. Lynn struck a few matches under the hood but couldn’t see anything in the brief sputtering light. Herb drove up beside us and felt around under the hood – alakazam! the Scout started right up. Herb remembers the night, Heather says. something about a wire to the distributor. Many of our neighbours helped us out over the years, but that night was something special.

__________________________________________________________

I also need to mention Christine’s Wet’suwet’en name: Ggunek, which means hummingbird. Her grandchildren mentioned its significance in their remembrances of her. Milan told the story of catching a trapped bird in a cloth and bringing it to her: When we opened the cloth that lil bird sat there while she pet it…always wondered why it didn’t just fly away…out on its way it beeped twice, spread its wings and was gone. We laughed so hard…

Jenni’s discovery of her grandmother’s name solved a few mysteries about my grandma, but … also created a few new ones. Watching the hummingbird over the summer since, it seemed that – though small – they could be fierce when defending themselves, their homes, and their children, and they were beautiful, proud little creatures. Like her namesake, grandma was never – ever – afraid to fight for her loved ones and strength hidden amongst dignity and beauty, is a long and ancient legacy of our people. This was my grandma in so many ways…proud, beautiful and strong.

__________________________________________________________

Thanks to Birdy Markert for giving me the biography prepared for Christine’s funeral, and to Cinamon for putting me in touch with Heather who sent photos and memories:

I tried to send something of mom and dad from when they were a younger, to an older couple. The creek pictures are significant, because they represented a lifetime supply of good drinking water, a place to clean their fish, water to clean themselves, and their home year-round. The solitude and peaceful atmosphere of Driftwood lent something good, not only to mom and dad, but also to the rest of us who visited or lived there. 

A Five Dipper Day

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I might as well name the American dipper (Cinclus americana) my spirit animal. I frequent streams, especially the “clear, rushing, boulder-strewn mountain streams, within tall conifer forests. [I]float buoyantly and swim on the surface (poorly) by paddling with unwebbed toes. [I] frequently walk about on the gravelly bottom of streams.”

Chunky, fairly nondescript, not very musical except for moments in the spring when it even surprises itself.

The dipper is our only aquatic songbird. It feeds on the little creatures that live in the water – caddis flies, mayflies, mosquitoes (whoopee!) and also dragonflies, worms, fish eggs and even small fish. In winter, it’s hard to believe there’s anything in that water, but if you can find  a pebble to flip, you’ll see little shrimp-like wigglers squirming for cover.

I’ve only seen two nests – one in winter when we snowshoed down the creek all the way to the Bulkley; the other, the parents actively attending to the chicks inside, was behind a noisy waterfall in the Rockies. The nests are always near, and usually overhanging, a mountain stream, but they are easy to miss because they look like a clump of moss. Under bridges is another good spot to look.

Males and females may work together to build the ball-like nest, often in freezing temperatures. Materials are dipped into water before being woven into two layers: one, an outer shell, 8-10 inches in diameter, made of moss, and the other an inner chamber with a woven cup, 2-3 inches in diameter, made of grass, leaves, and bark. Once the nest is finished, the mossy shell absorbs moisture and the coarse grass keeps the inside dry.

Every birding book and website says they are mainly solitary, that after a pair brings its chicks to fledge, the parents usually divide the brood and head off to separate territories. But this fall and winter, we’ve seen two and very occasionally three foraging within a few feet of each other. We find one almost every day.

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Sunday was special. A grey and gloomy morning, the road an inch-thick crust of ice. At the first dipper viewpoint, I spotted one in a newly opened pool just above a big log jam. We watched each other for a while and then I looked up the creek to where our snowshoe track had collapsed into another pool. Another dipper. And then, further up again, a third one.

Another km up the road, at an opening where we always look but rarely see them, there was another. And on the way home, looking downstream from the bridge that crosses the creek just below a tiny stream flowing out of a trickle of little springs, springs that never freeze, a fifth.

The dipper. Industrious. Likes the outdoors. Tends to stay resident all year round. Enjoys poking around under rocks in creekbeds. Spirit bird indeed. Almost forty years of turning over stones, tossing them in and skipping them across Driftwood Creek. Listening for the bird’s sharp alarm call.

Last fall, my grandson and I were both hunkered down beside the creek lynn-and-casey-at-creek-2-399x600when I started telling him about dippers. Just as I had told his father and uncle more than thirty years earlier. How they dive under the water and walk around on the bottom, how they blend right in with the stones they stand on, how they squawk as they fly up the curve of the creek.

One popped out of a nearby pool and looked us over, tilting its head, one eye zeroing in. The white eyelid. It hopped closer and closer. I held onto my grandson’s arm, stopping the pebble he was about to throw. We all watched each other for several seconds, me doing the little bobbing dance we always do when we see one: dip, dip, dip, dip, dipper!

The boy’s shout of laughter made that moment even better than a five dipper day.

(Thanks to Uncle Dan for the dipper photographs)

After reading this post, Mark Tworow sent this lovely reminder of summer and the creek in a completely different form.

Hi Sheila

I’ve attached Driftwood Creek in the Summer, one of the largest paintings I’ve ever done. (48 x 72)

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If you walk from the summer parking lot towards Sunny Point there’s a a small climb down a rocky slope to this pristine view of Driftwood Creek. The painting at such a large scale hoped to capture a small part of the feeling one has of this beautiful crystal clear creek tumbling around the water smoothed boulders. How many years has the creek flowed through here? The smooth boulders give a small answer, though the course of the creek has probably changed through the years. If you pass this place one summer, stop and pause here. It is a full place.

I think you might likely spot a dipper here too.

Mark

Sheila,

You can tell Mark that dippers live, fly and dive all along the Driftwood cinclezenrock_francoidepeycorridor…and yes indeed right downstream from the location of his painting by a place some locals refer to as Zen Rock.  I was lucky enough to catch one of them with my camera a couple of winters ago.

Cheers,

Françoi (Del Pais)

The Mystery of Water

A soft mist of rain falling on even softer snow. The road a sheet of ice.  A pair of resident ravens squawk from the spruce trees down in the gully.

The January thaw, Joe L’Orsa patiently explained during my first winter here.

Great plops of snow slip off the roof, off the drooping alders. You can hear the crystals shifting.

Right now the creek is mostly silence. Snowshoeing just a couple of days ago, before this thaw, its voice is hard to track. At times the path is as quiet as any terrestrial winter trail when the snow is powder. At times the creek gurgles on our left from under that big old spruce curving way out beyond the bank. Then on our right, where the creek turns against its own current. At times a pool opens and we watch water moving over a sudden clarity of stones. Even when we’re breathing air that measures minus twenty. No wonder the dipper dives in.

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Dan Shervill photo

The mystery of water. How can it run at all when it’s been well below freezing for several weeks now? How can this side hill ooze moisture even after the frost has burrowed in deep? And why has our snowshoe path from a couple of days earlier disappeared into a new opening?

You think it’s going to happen again when the solid thunk thunk thunk of your snowshoes and the trail’s responding crunch shift into the hollow sound echoing from an air pocket under the ice. You hold your breath and hope the ice holds. You wonder, how big is the air pocket? If the ice suddenly opens, you hope the drop won’t be too far. But you know it’s there. And no matter how hard you try, you’re never ready for it.

The January thaw. The strangeness of rain falling on the snow still covering the ice under which the creek flows. The mystery of water.

Forty Years: A Celebration of Driftwood Creek

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January 1977 – I moved to Smithers to work as a reporter at The Interior News, a paper with a venerable history and a crack reporter on staff. I was a new graduate and needed a mentor. A month later, he quit and I was the senior reporter. Now that was fun. Five months later I moved into a ratty little cabin the crack reporter (now working at the local bookstore) had purchased. A year later, I married him. And we’re still here, deep in the heart of Driftwood Canyon.

Our home is in Laksilyu territory of the Wet’suwet’en people in the House of Tsee K’al K’e yex (House on the Top of Flat Rock); the chief is Wah tah K’eght (Henry Alfred). Across the creek is Woos’s territory.

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This morning we strapped on our snowshoes and travelled a few kms down the creek. Minus 16 and the sun was shining up high on the canyon rim. The alders have grown about as big as they get around here – thirty years since the big Father’s Day flood scoured the creek clear of the small stuff and a few huge cottonwoods besides. But a route that we’ve skied and snowshoed many times is wide open. The log jams we used to clamber over are gone, the tricky rapids solidly frozen. It hasn’t been this cold for this long for years. It’s wonderful.

 

When I started thinking about a new writing project a few weeks back, stalled as I am on a series of poems, on a stubborn short story, on an unpublished novel, I was in the middle of reading Dart by Alice Oswald. A book-length poem Oswald compiled/created over three years, it traces the Dart River from its origins in Dartmoor in southwest England about twenty miles to its estuary at Totness and on for another nine miles to the English Channel at, of course, Dartmouth. She collected stories and narrates the poem in the voices of those who have lived, worked and played along its length.

Near the beginning, she speaks in the voice of an upland hiker:

What I love is one foot in front of another. South-south-west and down the contours. I go slipping between Black Ridge and White Horse Hill into a bowl of the moor where echoes can’t get out

listen,
a
lark
spinning
around
one
note
splitting
and
mending
it

and I find you in the reeds, a trickle coming out of a bank, a foal of a river

one step-width water
of linked stones
trills in the stones

What’s not to love about that?

We’ve all spent a fair bit of time thinking about the Sacred Headwaters over the past years. The Skeena, the Nass and the Stikine all rising out of a series of wide wet meadows high up in Spatsizi country. Many of us watched on film as Ali Howard searched for the Skeena’s beginning to start her epic swim to tidewater. Coalbed methane at the top end, fish farms proposed for the bottom end and the damn Northern Gateway project proposed to run right across the watershed’s eastern reaches. All done, all sorted. (I’m not going to start about Lelu Island here – the proverbial elephant in the room.)

snowshoe-hare-400x225Instead, I’m going to hunker down beside Driftwood Creek as I have so many times over the forty years I’ve lived here. In the early days, I read Annie Dillard’s Pilgrim at Tinker Creek. I loved the intensity with which she examined that creek flowing out of Virginia’s Blue Ridge Mountains. But I’ve got to tell you, the aquatic life is a little harder to find in a mountain stream that drops from an altitude of about 5000 feet in the Babine Mountains to its confluence with the Bulkley River at about 1200 feet in under thirty km. It never gets much warmer than ten degrees and I speak from experience.

small-creek-225x400Thank god for the dipper, which I thought was a tall tale when a couple of friends told me about it for the first time. A little grey bird that dives into the water and walks around looking for food, even when it’s forty below and there are only one or two openings in the whole damn creek. No way, I said. The water ouzel. I saw one a couple of days ago singing like it was spring.

 

So many stories. It’s too late to say, “Don’t get me started.” Instead, I’ll raise a glass of creekwater to celebrate its stubborn beauty.

PS. I’d be glad to hear your stories too – I’ll happily post them here.

Lelu Island Lace

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I’m just coming to the end of a lace project called Estuary, by designer Emily Wessel. I was first drawn to knit this shawl by its name. Emily describes her inspiration for this design: An estuary is an in-between place, not ocean, yet no longer river. It is a fertile habitat where sweet and salt water mix, and many species thrive. Estuary combines two lace patterns to create an ambiguous shape: not quite a shawl, yet something more than a scarf.

There are more beautiful – extravagant, filigreed, starbursts, leafy, vine trellised – lace patterns. But I’ve been knitting this shawl to honour the Skeena estuary. In it, I see the Flora Banks emerging as the tide retreats, the salmon finding their way back up the river after their time at sea, all the young smolts collecting in adolescent jitteriness after their first river descent. Both coming and going they feed the eagles, the sea lions, the gulls, the seals. And us too. So many of us fed for thousands of years.

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Photo courtesy Tavish Campbell

The shawl has been a difficult project for me, partly because I’ve picked it up and put it down many times over the past year, but also because the pattern is complex. By combining two different patterns, it mimics the sweet water meeting the salt and you need to pay very careful attention as it grows.

Lace is often like this. Lose concentration and you can find yourself and your stitches in a muddle. And the thing about knitting lace is it’s almost impossible to correct mistakes. The structure, with all its intentional gaps, the pulling together and drawing apart of threads, means you can’t just unravel it and pick it up again like you can with a plain sock or sweater. The structure you’ve laboured so long to create disappears.

skeena-estuary

Photo courtesy Tavish Campbell

Which brings me to the Skeena estuary. It is re-drawn daily by the tides, weekly by the weather and seasonally by the collection and release of the rain and snow that has fallen throughout the watershed. It has a long history, a place more layered and complex than any lace. You can’t break the pattern and expect to be able to fix it later.

 

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If you plunk an LNG port* on Lelu Island, stretch a bridge across Flora Banks and the eelgrass where salmon smolt gather to the tanker dock at the edge of Chatham Sound, drill, blast, dredge and set up a huge humming structure complete with gas flares and tankers, well you’ve unravelled something that’s taken thousands of years to emerge from the debris of our last ice age.

How ironic to even consider building this example of Anthropocene hubris in this spot. If you add the expansion to the fracking chaos of northeastern BC this project will necessitate to its enormous greenhouse gas emissions, you’ll be speeding up the final melting of ice that began the process, thousands of years ago to create the Skeena estuary. The melting could well see the whole LNG structure itself lost beneath tidal surges within decades.

Maybe we should send Justin Trudeau, Catherine McKenna and Christy Clark each a fragment of unravelling lace and see how well they can pick up the stitches to re-establish the pattern. All while treading water.

* If you want to know more about Petronas’s LNG project, a project approved by the Canadian government just days before it ratified the Paris agreement on climate change, check out Skeena Watershed Conservation Coalition’s video.

Thanks to Graeme Pole for the images from No More Pipelines.

Go outside. Get high.

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We went for a hike on Thursday. The garden is mostly done except for a few lettuce plants and a small plot ready for the garlic. Oh yeah. Pull up the fading sweet peas, say adios to the glorious clematis and kiss the one volunteer sunflower goodbye. Not yet, I tell them, not today. Summer comes to an end soon enough in Driftwood Canyon. Today I’m going into the mountains.

Which means I can ignore the itch that drives me upstairs this time of year. The itch and that damn caterwauling on the landing, the cat telling me to get my arse up there and into the chair. Or she’ll find something precious to knock off my desk.

I’m in that miserable stage of a writing project where a dozen ideas are roiling around inside what passes for my mind, and I’m scared to begin because once I do, well, all sorts of possibilities are lost. So hiking is a great distraction. It’s perfect this time of year. No mosquitoes. Not too hot. The flowers are mostly gone, but the colours of fireweed, huckleberries, willow and those red-leaved blueberries light up the alpine meadows.

the-trail-281x500The trail we pick is a gentle one – it follows the northern contour of Harvey Mountain with lots of views across Driftwood Creek to the mountains on the other side. No snow yet, and great swathes of red and yellow. An iron streak right through the mountain range. The roar of the creek fades as we climb high above its passage. A varied thrush lifts off the trail into a sub-alpine fir, letting us get a clear look. We hear them ringing all spring and summer, but rarely see them as anything but shadows.  A male spruce grouse, its red eyebrows still visible. Across the way, two mountain goats and then two more.

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When you’re walking, though – climbing, sweating and puffing – it’s not all wonder and delight. Hips hurt, feet stumble, and you find yourself thinking about writing after all. The doubts that ring louder as you get older: the growing pointlessness as you see what a broken place the world is, what broken creatures we are. The millions of words thrown out to see what they might hook.

You never know when writing might bring you to a sense of intense connection and understanding – the words feeling like wisdom from a far off spectral being – but often you wonder just what the hell you’re doing as those words shiver and dissolve. Forgotten.

So too the trail. You find moments of pure joy when everything clicks and your feet feel a passage created by thousands of footsteps following the same path, some of them your own. How it takes you across a precipitous traverse and deposits you in wildness. In beauty, the blueberries sweet in your mouth. The trail opens you up, even if sometimes it’s rough, sometimes wet, cold, and sometimes frightening: the huge bear scat purpled by the same kind of berries you’ve just eaten. The fear that makes wildness what it is. The fear that gives any good writing the edge it needs, the fear that underlies everything we do. Knowing it will all get along just fine when we’re gone.

But, oh god, that feeling.

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That fist in the air hurrah when the trail emerges into the glorious alpine meadows we get around here. The feeling when the writing falls into place, all the dead-ended game trails, all the boot-soaking bogs, the bruised shins and blistered feet forgotten. That feeling when it not only makes sense but makes the new kind of sense you want to study a bit farther. Use as a prism to refract what you think you know into something different, something bigger.

It’s always worth it.