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Sometimes when the latest Audubon arrives in the post I dread reading it.  Unsustainable logging in old growth forests in Oregon threatens the marbled murrelet.  Ground water depletion by development in the San Pedro watershed (the major undammed river corridor in the entire intermountain West) may destroy twenty years of conservation gains.  American eel populations have declined ninety percent in the past four decades because of obstructing dams in Eastern rivers.

Does it ever seem to you that we humans just can’t get along with the other species on this planet?  The neighbors cats have eaten most of “my” house finches.  Just one careless chicken farmer upstream on the Big Elkin Creek is enough to silt up what could have been a decent trout stream.  Last week we had to replace about forty yards of sewer line on the steep ridge behind our house, plowing under at least a tenth of an acre of prime wild red raspberries.

I walked along the scraped red clay and exposed roots under the power lines down to the manhole where our sewer ties into the city.  Given the previously impenetrable briars, it was a new perspective on our little four-acre plot in the woods.  I hadn’t realized how massive that sentinel white oak had become in the thirty years we’ve lived here.  It has a Virginia Creeper hanging from it as thick as my arm.  And since the backhoe has knocked down a dozen or so gangly box elders, there’s enough sunlight seeping into our backyard that I’ve sown a pound of wildflower seed . . . after my daughter Margaret and I had picked about a pint of raspberries from canes we’d never been able to reach before.

In New England, a naturalist named Chris Bowser has set up a citizen stewardship program using net-filled PVC pipe to lift eels above the dams and enable them to complete their migration.  My friend Bill Blackley and a local crew are building hiking trails and restoring Big Elkin Creek to make it trout-worthy.  Virginia letter-carrier Rita Shultz has installed a hundred and ten bluebird houses along her route (in her time off) to prevent the birds from nesting in newspaper boxes, and prevent people from tossing out the nests, eggs, chicks and all.  And since February loggerhead turtles, piping plovers, least terns – and dozens of other nesting species – have a safer home on Hatteras Island: the National Park Service issued a new rule that allows off-road vehicles on 28 miles of shoreline, preserving the other 39 miles for wildness.

We might just get to go on living next door to critters.  We might just be able to pump from our hearts enough compassion for critters to make a place for them to go on living next door to us.

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Bubble

The heat hunkers trenchant, loud.
Lilies are budding on the lake.
Calf-high grass quivers.

He has wanted this moment to exist:
the insect flares blue on a sticky branch,
opening and closing, the size of his hands.

He heart pumps a bubble over the world:
it holds.

Mark Smith-Soto
© 1990 by Trans Verse Press.

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Mark Smith-Soto is professor of Spanish at UNC Greensboro and has been chairman of the Department of Romance Languages.  His poems appear frequently in the monthly magazine Sun.  He has served as editor or associate-editor of International Poetry Review since 1992.  His first full-length book of poetry, Our Lives Are Rivers , was published by Florida University Press in the summer of 2003.  Born in Washington, D.C., Mark grew up in his mother’s native Costa Rica.

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The photo of Jordan’s red-cheeked salamander (Plethodon jordani) was taken near Clingman’s Dome along the Appalachian Trail in 2003.  The cute little Appalachian cottontail (Sylvilagus obscurus) eating jewelweed beneath the stand of bee balm was at Cosby Knob Shelter on the AT (also GSMNP)  in 2007.

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Some other breathers in the starry night, / Living their days beyond all others’ hearing.

Pat Riviere-Seel has just finished her first day as Poet-in-Residence and the North Carolina Zoological Park in Asheboro.  Tours, meetings, crowds, getting lost, getting found – her mind is awhirl.  She’s finally found a few minutes to unpack and now she returns to the Zoo after closing.

You’ve visited zoos . . . how many times?  Right now you can visualize your favorite animals: the lion invariably asleep, only the tip of its tail atwitch; giraffe curling that improbable tongue around its leafy dinner; monkeys teasing, chasing, swatting each other like sixth-graders on the playground.  And then there are the smells: “Dad, do we have to go in the elephant house?”  But what about the sounds?  Do you remember any animal sounds other than toddlers crying for the ice cream they’ve dropped, mom’s calling for their young’uns to stick close and don’t get lost?

I wonder at the silence that Pat is discovering right now.  Have strange calls begun to rise from the aviary as birds seek their roosts?  Can she detect the crunch as oryx and kudu finish the day’s last mouthful?  After the crowds have disappeared, is that when elephants trumpet and lions roar?

The silent are not those who make no noise.  The silent are those we fail to hear.

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Song for the Silent
James Boyd

Down here the mule leans in the traces,
The plow swims through the loam,
And men at dusk turn quiet faces
To chimney smoke and home.
The roof is touched, then, by the first star’s finger,
A lamp stands in the wall;
Inside the house, slow sparse words linger,
Slow shadows rise and fall.

Out where the tracery of trees is cool
The plow leans toward the shed
In whose black cave the mule
Lies on his rustling bed.
Deep dark and silence come,
The mule no longer stirs,
the house, the darkened room
Seem filled with whisperers:
No sound but quiet breathing,
No light but from the star,
Whose beams through starlight and dark forests weaving
Form webs to where there are
Some other breathers lost in woods and clearing,
Some other breathers in the starry night,
Living their days beyond all others’ hearing,
Beyond all others’ sight.
But not beyond the web that holds them
To plow, to mule, to star,
And with light, lovely majesty enfolds them
And all the earth’s silent breathers, lone and far;
Breathers and brothers in the world’s dark reaches,
Brothers at peace within the web of light,
Free of the day and the ill day teaches,
At rest now in the silver of the night.

The manikins of state who scheme astutely
To blot each other’s names from history’s page
Forget that here in lonely cabins mutely
Men watch the feuds they wage.
But when through roads by ghosts of soldiers haunted
The crippled boys come back to mule and star,
If they shall miss the brotherhood they wanted
Our leaders may learn who the silent are.

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Written in the 1940’s, the final stanza of this poem could equally well describe this current decade, this very day.  So many voices that we fail to hear, voices of creatures both human and other.  Will our leaders learn who the silent are?

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James Boyd (1988-1944), novelist and poet, was a North Carolina literary luminary.   After World War I he and his wife moved to Southern Pines and for the next quarter century stimulated and promoted literary arts in the South, their influence spreading throughout the country.  Boyd wrote five historical novels set in North Carolina, revitalized The Southern Pines Pilot as its editor and publisher, and with WWII approaching organized The Free Company of Players, which produced a radio drama around such themes as freedom of speech, the right of assembly, racial equality, and the right to vote.  His collection Eighteen Poems was published the year after his death.

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Read Pat’s artist’s statement and bio.

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Everything I love changes me, and if I can be true to love I will welcome the changes.

Hear the veery in the deep dapple-dark forest.  Hear the descending double-voiced yearning so airy and earthy, old when these broad poplars were jade-and-honey flowers in their mother’s hair, old when these smooth mossed stones had just cracked from their father’s face.  Sit in the silence of light retreating and perhaps the spirit-bird will join you, a momentary apparition of brown leaf shadow and speckled dusk.  With bright eyes it will accept you, hop once, fly, and in the next moment you will hear again, ancient and aching, Audubon’s flute.

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Audubon’s Flute

Audubon in the summer woods
by the afternoon river sips
his flute, his fingers swimming on
the silver as silver notes pour

by the afternoon river, sips
and fills the mosquito-note air
with silver as silver notes pour
two hundred miles from any wall.

And fills the mosquito-note air
as deer and herons pause, listen,
two hundred miles from any wall,
and sunset plays the stops of river.

As deer and herons pause, listen,
the silver pipe sings on his tongue
and sunset plays the stops of river,
his breath modeling a melody

the silver pipe sings on his tongue,
coloring the trees and canebrakes,
his breath modeling a melody
over calamus and brush country,

coloring the trees and canebrakes
to the horizon and beyond,
over calamus and brush country
where the whitest moon is rising

to the horizon and beyond
his flute, his fingers swimming on
where the whitest moon is rising.
Audubon in the summer woods.

Robert Morgan.

[Collected in Word and Witness: 100 Years of North Carolina Poetry, Sally Buckner, editor.  Carolina Academic Press, 1999.]

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Last Saturday I walked beside the creek and up the mountain with my sister while each veery called to the next that we were on our way.  Today Linda and I drive to Durham to meet my teacher, the first time in over thirty years, and to gather with his students gathering from fifty states.  Already we’ve been cataloguing the changes.  What do I love now that I didn’t love then?  How have I been true to the loves that entered me years ago?  Before the noisy afternoon, I take a moment to listen.  And when my bones are old as stones, trees, moss, how will my voice be recalled?

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Robert Morgan was born in Hendersonville, North Carolina and grew up on the family farm in the Green River valley of the Blue Ridge Mountains.  He is currently the Kappa Alpha Professor of English at Cornell but has returned to North Carolina many times as visiting professor and writer to Davidson, Duke, Appalachian State, and East Carolina.

The Veery (Catharus fuscescens) is a small thrush of deep moist woods, chestnut brown with a speckled breast.  All thrushsong is melodic and haunting, but to me the veery is most magical.  On a quiet afternoon you clearly hear him singing harmony with himself, the doubled notes possible only with an avian syrinx (unlike my limited tenor’s larynx).

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