Category: Musings

She Throws Up Her Hands

The grass these days stays wet enough for frogs to migrate from the water into the fields. I pull on tall rubber boots to move the sheep to new, deep pasture. Right now they live in a sheep tractor of our invention, a pen on wooden skids, which we pull forward every few hours. The ewes move towards the front and start snatching mouthfuls as fresh grass appears under their feet. They are safe and content.

It seems tedious, moving the sheep so often, but I relish the job. Here is one thing I can do. Among all the ways I fumble through tough parenting or veterinary cases or marriage moments or attempts at being a strong and kind citizen in discouraging times, here is one easy win.

I walk out into the dew-soaked field, while Rhubarb and Parsnip bleat their greetings. The ewes are small and fuzzy since I sheared them two weeks ago, and they lean their shoulders into my scratching fingers. I lift the water bucket over their fence panel. Taking one dog leash in each hand—each leash snapped to one bottom corner of the pen—I set my feet walking backwards. There. I have made two someones completely happy.

As I walk down towards the house, a frog darts between grass tufts. Aha! I think. Now I can make two more happy someones when I show this frog to the kids. I bend and grab. Three times, missing. This frog zigzags fast. On a fourth try, my wet hands trap the frog from front and behind, and I lift her in my palm. She is stunning—bright green with glistening dark spots.

As I raise my hand cupped over her, I see that she is flattening her body against my skin. Then, she flings both front legs over her head, palms up. I see fear. This gesture is universal—don’t hurt me. It is an instinctive plea. My heart lurches as I realize that this frog is at my mercy, and seems—at some level—to know it.

“Oh no I’m sorry it’s okay you’re okay. I’m so sorry.”

All thought of showing the kids vanishes as I lower the frog back onto the ground, where she crouches. Arms over her head, her toes splayed to shield her eyes.

For one moment, I could be the cop with the gun, the ICE agent taking away a child, the young man pinning a younger woman. Is this too big a leap? Power and empathy affect our actions in ways that translate across many moments, many opportunities for mercy.

As I back away, the frog places her front toes on the ground and launches into the grass, immediately invisible. She stays with me, though. I look up ‘green frog with spots’ and decide she is a northern leopard frog. I can find no image of a frog cowering under its hands, except the one burned in my brain.

Every time I move the sheep, I look for the leopard frog. Maybe I have a strange urge to apologize again. To replace my image of the frightened frog with a calm image, maybe a photo of her poised under a grass tuft. I don’t really need to see her. I am just learning to observe the beauty of other lives without messing with them.

 

The Ombre Between Us

In yet another reminder of how much I do not know, I recently learned about ombre. At first, I pronounced it wrong—om-burr. Now, since it is French, I am still pronouncing it slightly wrong, despite the Internet’s best assistance. Its real sound is somewhere between om-bray and oom-bruh.

Ombre is French for shading—a marvelous word implying the fade from one color to another, darker to lighter, a gradual shift. Ombre is also a three-person card game that Europe loved in the 17th and 18th centuries, but I have failed to connect those definitions. I have also failed to stop thinking about the gradual shift in shades of color since my exposure to ombre.

Ombre seems to capture the passage of time in one frame. On a single wall, you can paint the sky changing from dark to dawn to daylight. The ombre hairstyle, dark near the scalp and light at the ends, is like a time-lapse of growing your blonde dye job back into your natural brunette, but where you choose to have both colors coexist. Across the spring days, the trees shift from grey to green, but for an hour on a single morning, the fog paints ombre on the woods. I am now watching everywhere for shading, changing.

A woman turning forty might contain her own ombre—the darker weight of her thirties easing into a lightness of loving herself even when she disappoints people. A nation holds many gradients in a single moment, all of the literal and metaphorical light and dark—seeming sharply divided, but perhaps more mingled, with more intermediate, connecting shades than we tend to realize.

Ombre seems also to describe the space between the living and the dead. Voices blend at this Saturday’s memorial service. Their music translates ombre into sound, filling our heads and chests with the harmonies of How Lovely is Thy Dwelling Place, folding and fading. People speak, painting my uncle’s life in words, some heavier or deeper with color, others brighter, glowing.

A handful of cousins meet afterwards in a restaurant, barely knowing each other, but we laugh together and taste each other’s drinks. We are comfortable in the gradient of our beliefs and experiences, connected in the space between our unique lives and our shared grandparents.

This morning, I paint our kitchen cabinets and listen to virtuoso musician Edgar Meyer, unaccompanied on the double bass. I ride the music from growling low to trembling high, soft to intense, slow to buzzingly fast. I am rolling pale grey and darker grey across the wooden doors. Between one tone and another, I find the richness in ombre.

In Which the Sheep Get Naked

This photo of me is evidence against a picture being worth a thousand words. In this photo, I appear relaxed and competent. In control. I am none of those. Within ninety seconds of this photo, the photographer has to drop the camera and rescue me, as I realize that my arms are too short to reach the hind end of the wiggling sheep. So this photo simply creates a debt requiring nearly a thousand words to correct it.

It is almost true that the shearing begins with me looking skillful and the ewe looking docile. I am prepared. I have watched a man shear a sheep at Plumpton College, East Sussex, UK, gentle in both his British accent and his handling techniques. He shears the sheep in less than five minutes. By my seventh viewing, I am standing beside my computer, pantomiming his movements, learning the choreography I need to perform by this evening. When the cat wanders over, I set her on her rump, tuck her right foreleg behind mine, and shear her brisket with imaginary clippers.

I arrange things in the barn. Plug in the clippers. Oil them. Flip the switch. They are much louder and heavier than they looked on the video. To get the feel, I lift my pant leg and run them up my shin. They buzz on my skin. Fiddling with the angle, I trim my winter-long leg hairs.

When Andrew gets home, I am ready. We wrangle a reluctant Rhubarb from the pen. I inform Andrew that I will hold her and shear her, as this approach will give me the best access for efficiency.

“Then what will I do?”

“Take pictures,” I say.

All I need is to get Rhubarb alongside my legs, facing my right. Then, while I turn her nose towards her side with my right hand, I lean over her, reach my left hand under her belly for her right hind leg, and…I cannot reach her leg. The year’s worth of wool makes her too rotund to get my arms around her in any direction. I grunt around on the mess of woolly sheep for a minute, then Andrew helps. When Rhubarb leans quietly against my legs, Andrew hands me the clippers. He stands back and takes the photo.

My arms feel too short and weak. My back seizes within minutes. I nick her skin, once when she wiggles and once when she doesn’t. Trying to protect her skin, I shear off the pad of my left ring fingertip, run down to the house, drip blood across the kitchen floor, get woozy in the bathroom while Stella cries because she wants to see it before I bandage it, reassure her with my head between my knees, bandage it, and run back to keep shearing before I lose my nerve because there is our sheep with a third of her fleece dangling from her, waiting on her rump in Andrew’s arms.

None of my memorized choreography works for me. I realize that a smallish woman with large sheep cannot expect to work the same moves as a large man with a smallish sheep and untold hours of experience. Kneeling beside Rhubarb, I talk us through it. “You’ll feel so much better afterwards. Just a little more, then this wool will be gone. You will be just you.” Ha, I think. Ewe.

After an undisclosable amount of time in the menacing clipper drone, we all three stand, panting. Rhubarb—naked—rejoins Parsnip, who now looks enormous. My adrenaline dissolves, and I could fall asleep in our late supper of leftover spaghetti. Parsnip will wait until tomorrow.

The next day, I find another tutorial—How to Shear a Sheep in 20 Steps—similarly impossible looking, but better matching my ergonomic realities. We handle Parsnip more smoothly, despite her more feisty behavior. The shears balance better in my hand. I swear only once, at a single nick on her leg, and sustain no injuries myself. In half the previous time, Parsnip is nibbling hay while Rhubarb sniffs her in disbelief.

Watching them, I feel that disbelief too. We did it. The photo is not a complete deception; it is worth something. It is a reminder for me. The story is always more messy than a single frame can describe. Our thousand words are more complicated and compelling, more engaging and relatable, than one glance at someone’s life. It is always worth listening.

Note: This is the wool of one sheep. One.

 

Snow and the Painted Ladies

Thirty-nine inches of snow fell one day in March, towering into drifts along our house and over the fence. Inside, I had gone dormant, curled into smallness and slowing myself protectively. The blizzard, though, dragged me outside. Wind blew the snow into our eyebrows. Crusts froze on our hats and shoulders, but shoveling warmed us. It felt good to have something to fling ourselves against, together.

We started by the road and worked our way towards the well-buried cars. One foot after breakfast. One foot after lunch. Another foot late afternoon. Always revisiting the pile left by plows along the road. Each time we lifted the snow higher at the edges. In that blizzard, and the next few snows, adventure leavened the work.

March ended, though, with snow on the ground, less like a lamb and more like a dead fish. April’s snows have been a series of small betrayals, echoing my experiences in the past several months. Quiet months. I have been quietly resting and working.

At work yesterday, I euthanized eight animals. I took one dog’s shiny black face in my hands before I pushed the syringe. She released her head to me. My thumbs stroked her ears. Good dog. Sweet baby.

When someone is dead, they are dead. The excruciating effort of finding life after death is for the living, not the dead. Easter brings one of my favorite seasons because the old stories seem fresh; there is awakening and unfolding. Even the large snow patches do not stop water from rushing down the ditches. Buds fatten on grey branches. The hens and ducks race around outside again, pecking and dabbling. My legs exalt in striding between the barns unhindered.

Once last spring, I followed a hen to her hidden nest in the barn. As she crooned and postured, I spent twenty minutes with my camera focused on her butt fluff, waiting to capture the shiny wet egg escaping her body. I am that kind of optimist. But she decided to wait for more privacy to reveal her daily miracle.

This morning I am tending the improbable butterflies. A gift. Over thirty painted ladies, emerged from their chrysalides. Many of them sit folded. They seem too still. I refresh the cotton balls in honey water and move them to a warmer spot. I watch the painted ladies open and close and stagger over each other to find sweetness, uncoil a proboscis. I wonder if they will die the moment we release them, or fly off in subtle, fragile glory—allowing us our illusions.

More likely, they will do neither. They will remain—motionless in the cold spring—poised at the edge of death and life. And we will continue to wonder.

 

 

Sewn Together

*Five years ago this week: Sandy Hook Elementary School, which should have been enough. This post contains gunshots. And sewing. With love. 

For reasons I do not completely understand, I am sewing a small sleeping bag, by hand.

First I cut a pattern from the large brown paper filler in the shipping box. I hold it up to the doll, who is blinking her eyes closed, lying still in her box. Her shiny two ponytails come to the waist of her cargo capris, which meet her wooly socks. She wears little pink hiking boots but can switch to even pinker crocs, presumably around the campsite in the evening. All eighteen inches of her will fit inside the sleeping bag.

For two dollars, I bought a yard of robin’s-egg blue satin. It was the closest thing I saw to whatever slippy material makes sleeping bags. This mini mummy-style bag will be extra silky—prom dress meets outdoor equipment. My palms smooth the satin onto our card table, and I pin the paper pattern onto it, as if I have done this before, but I haven’t. I also bought a lime green zipper, as if I know how to install it. Without consulting You Tube, my fingertips bend the satin along the zipper. I want to feel my way through this pretty, frivolous project.

I can sew. Last Sunday, I spent two hours sewing together the muscle bellies, then the skin on the underside of a dog’s chest. As I cleaned hair and dirt from deep inside the wound, I thought about the path of the bullet—perpendicular to the dog, grazing the sternum. My curved scissors trimmed away singed-grey tissue to reveal pink. We flushed and flushed the wound crater, trying to wash away what contaminates a body. Gunshot wounds are ugly. I imagined emergency doctors facing a person with such wounds—or, as has become frequent, many gunshot people in one event.

Gunshots in life—more abrupt than this wound alongside a holiday sewing project. Now it is bright blue satin and a camping doll for Christmas. Now it is flesh inverted, blown open. Our hearts bleed. We race towards the wounded. Then, when we could change the rules to help, we look away.

I understand that a gun can be a tool—a device held in your hand to perform a task. It can send a single bullet through a single deer in a field behind our house. In this animal, I leave the ugly wound, and we trim away the flesh for our freezer. We do this together, quietly, with mixed feelings. Even here, the gun is a tool for ending life, nothing else.

When do we need tools for killing? What do we gain from the freedom to have tools that destroy many lives, in moments? We gain people dying en masse, while learning, dancing, praying, gathering for music. Why do we cling to the right to inflict ugliness, when there are so many tools to create beauty?

For reasons I do not completely understand, I am bent on sewing this doll sleeping bag, so needlessly warm and sturdy. I pour hours into it, as if one person can mend everything by making something lovely.

Snow falls outside, and I watch the needle dipping in and out of prom-worthy fabric, not so different from satiny pink muscle. A needle is a tool for pulling things together, trailing a strand that will stay behind, holding. The edges draw closer. With time, the muscle will heal, and the fabric will thin—our brief lives, in some small way, sewn together.