Grief & Gardening #2: Five Years After, “Ths Transetorey Life”

There are three sections to this post:

  1. Trinity
  2. Ground Zero
  3. St. Paul’s

Trinity

This is a flower border at one of my favorite gardens to visit. Earlier in the year, there has been a succession of Iris, Hemerocallis (Daylilies), Hosta, and other common and sturdy garden perennials. There are ferns, and flowering cherry trees on the grounds.
Flower Border
The garden is the cemetery at Trinity Church in downtown Manhattan, just down the block from Ground Zero. The photo above is looking south, toward the church itself. Here’s another view looking east, toward Broadway, which is just on the other side of the wrought iron fence surrounding the cemetery.

Flowers, Trinity Church Cemetery
This really is one of my favorite gardens to visit. First off, I love cemeteries. During my troubled adolescence, a cemetery at the end of our street was a refuge for me, a place I could go where no one would bother me, a place of solitude, and quiet. I came to enjoy the history of it, reading the stones to learn about people’s lives, how young they died, how many of them were children, and infants.

This garden cemetery also reminds me of impermanence. When I walk through it, I’m on my way to work, in the financial district of downtown Manhattan. It’s easy to get stressed about work. This walk helps me keep a healthier perspective on things. Check out the engraving on this headstone.

Headstone, Trinity Church Cemetery
“Here Lyes ye Body of John Craig Who Departed ths Transetorey Life September ye 14 1747 Aged 47 years” At 47 years, he was an old man when he died. He could have easily been a grandfather. And yet, “ths Transetorey Life” … Next week is the 259th anniversary of his death. How many lifetimes, how many generations, is 259 years?

Another thing I enjoy about visiting this garden cemetery is the ritual I’ve developed for entering it. There’s really only one way: from the Rector Street station on the R/W subway line. This lets me out on Church Street. After emerging from the subway, the streetscape is the photo below.
Church Street, looking North toward Ground Zero
This is Church Street, looking north. Ground Zero (of which more below) is just one block away, where the buildings end on the left-hand side. On the right-hand side is a massive, and seemingly ancient, sandstone block wall. See the trees peeking out over the top of it? Those are from the garden cemetery. Here’s a view of the church from this vantage.
Trinity Church
That’s right: the cemetery is two stories above your head. Behind those stone blocks are the dead. To reach the cemetery, we have to climb still further, through the street-level opening in the wall, of which we only see the top of its gothic arch in the photo above, and up another two flights of stairs. Lest one forget, the sculpture set in the stone above the passageway is no cherub.
Grieving Angel

Ground Zero

I wrote earlier this week about the arbitrariness of anniversaries. But I have been feeling this one, the 5th anniversary of 9/11. The city is feeling it, too. Peoples’ grief is closer to the surface, more accessible. Mine certainly is. I’ve also been remembering a lot of what it was like in the city right after. There are reminders of it everywhere, on the news, in the papers, special exhibits and events, and especially, at Ground Zero.

A Tribute Center was dedicated this week on Liberty Street, on the south side of Ground Zero. I’d heard about it and I went there after work on Thursday. The doors had signs on them which said “Closed.” There was a couple next to me also looking at the signs. Someone inside saw them and opened the door for them. I thought they were just closing for the day, and let us in anyway. I tailgated in. I didn’t realize that it’s not open to the public until September 18.

Anyway, it’s quite a collection. They have artifacts. It took me a while to figure out what this object was. When I did, it just shocked me. I didn’t have my camera with me, just my camera-phone/phonecam. It’s a lousy picture, and I’ll go back and get a better one.

Another thing which shook me was some photographs in one of the display cases. There was a contact print of a couple of frames from a still camera, with some clear problems with light leakage along the top of the frame. The text explained that these photographs were taken by a photographer on the scene. His camera was damaged, and he was killed, when the first tower fell. His camera and film were recovered, and those prints were made.

Outside the PATH (Light rail/Subway to New Jersey) station, on the fence surrounding the site, is an exhibit of photographs from September 11 and the recovery efforts. The photographs are incredible, from all different photographers.
DSC_1696

The names of the photographers and explanations of each scene are displayed alongside the photos. I didn’t make notes of their names. I’m hoping I can find a catalog of them online somewhere. Here’s one of the photographs.

St. Paul’s

St. Paul's Enshrouded
This shows the tower of St. Paul’s Church about to be engulfed by the debris cloud from the collapse of the first tower. I’m pretty sure this was taken from an office building to the east, looking west toward the church and the World Trade Center site. St. Paul’s is directly across the street from the PATH station, and just a couple of blocks up the street from Trinity Church.
St. Paul's Church, viewed from the PATH Station
St. Paul’s sustained heavy damage, but it survived, and it served as one of the centers for recovery efforts downtown. Its fence was covered with memorials for months. Right now it’s housing the Threads Project, which collected threads, ribbons, and so on from all over the world and distributed it to weavers all over the world to create the works you see below.

St. Paul's Church, Interior, South Wall
St. Paul's Church, Interior, North Wall

One of the losses at St. Paul’s was a large Sycamore from the cemetery. If the tree had not been there, the church would have sustained even greater damage from debris which felled the tree instead. The tree has been captured as a symbol of the day, by casting its root system as a sculpture in bronze. This sculpture is permanently placed in a courtyard outside Trinity Church. The sculpture is called “Trinity Root.”
Trinity Root

And so we’ve come full circle. From Trinity, to Ground Zero, to St. Paul’s, and back again. We grieve the loss of a great tree, whose death saved others’ lives, and celebrate it. We grieve the garden, and grieve through the garden. It’s the weekend before five years after. I will be mowing the lawn, weeding, maybe sifting some compost, and preparing the garden to receive the bulbs which should arrive in a few weeks. I will do all these ordinary things. And when I return to work on Monday, I will look up, and turn my face to the hole in the sky, and remember again.

Related content

Flickr photo set
Grief & Gardening series

If there was any doubt …

I am nerdier than 89% of all people. Are you nerdier? Click here to find out!

“11% scored higher (more nerdy), and 89% scored lower (less nerdy). What does this mean?

Your nerdiness is:

High-Level Nerd. You are definitely MIT material, apply now!!!.”

Only 89. (Sigh!) I’m not as nerdy as I used to be. 20 years ago I’m sure I would have scored much higher. But then, I also once thought Mensa might be a way to meet people.

“Thanks” to Pharyngula for bringing this to my attention and helping me waste another 10 minutes of my life.

Free Admission to Brooklyn Botanic Garden, September 11, 2006

Brooklyn Botanic Garden, Cherry Esplanade, 9/11 commemorative plaque

9/11 memorial plaque at the southeast corner of the Cherry Esplanade at the Brooklyn Botanic Garden.
Photo taken: July 8, 2006

In observation of the fifth anniversary of 9/11, the Brooklyn Botanic Garden will be open this coming Monday, September 11, 2006. The Garden is normally closed on Mondays. All admission fees will be waived. Hours are 10am to 6pm.

If I didn’t have to work this Monday, that’s where I would be.

Grief & Gardening #1: 1, 5 and 25

[Updated 2006.09.09 02:45 EDT: Retitled; new URL. Cosmetic changes. Added link to Grief & Gardening #2.]
[Updated 2006.09.07 13:59 EDT: Updated Links section.]
[Updated 2006.09.06 17:17 EDT: Comments added.]

This may be a little long. It will come round to gardening. There’s a connection. I promise.

A couple of anniversaries have been on my mind:

1 year ago last Tuesday: Katrina strikes Louisiana, Mississippi and Alabama.
5 years ago next Monday: Terrorists strike the United States.
25 years this past June: AIDS “strikes” with the first CDC report of a cluster of pneumonia cases among gay men in Los Angeles.

Each of these has been in the news recently. Each has reminded me of my own experience of these, my own shock, grief, and trauma.

The ways we observe anniversaries is arbitrary. For example, I was shocked to tears for weeks by the Indian Ocean Tsunami of 2004, which killed 100 times more people than Katrina. The earthquake which precipitated it left the entire planet ringing like a bell. The observation of “25 Years of AIDS” at this year’s World AIDS Congress is pinned only to the first official report of a cluster of unusual deaths by the Centers for Disease Control in June of 1981. The timelines of epidemics don’t follow our categorizations of them.

Katrina

NOAA radar loop of Katrina


The night before Katrina made landfall, I was tracking its development and watching its progress through the radar loops on NOAA’s National Hurricane Center. I remember in particular the clearly visible eye. I knew this was bad, as this was an indication of the strength and organization of the storm. The morning after, I learned how bad it had been. The height of the storm surge, which hit Mississippi the worst, especially surprised me. The “secondary” impact following rupture of the levees in New Orleans underscored for me a truth I’ve learned from Zen: Pain is inevitable. People cause suffering.

9/11
HouseFallen

I work in downtown Manhattan, just two blocks from Ground Zero. The week of September 10, 2001, my partner and I were vacationing in upstate New York. The morning of 9/11, we learned the towers had been struck from another hiker on the trail. The first tower had not yet collapsed. I wrote the following on September 14, 2001:

Monday we drove to Mohonk Mountain House, a grand and rustic retreat in the Shawangunk Mountains outside of New Paltz. None of the rooms have televisions. Our room had a wood-burning fireplace. Our balcony looked over Mohonk Lake to the surrounding cliffs and mountains. Mostly I said “Wow” a lot.


Across the lake from the lodge a peak, called Sky Top, rises several hundred feet [not quite, maybe 150 feet] above the lake. On Sky Top is a stone observation tower which looks over the lake, the lodge, and the surrounding cliffs and mountains. Tuesday morning [we] hiked to the peak and climbed to the top of the tower. On the way to the trailhead I overheard one woman saying to another something about a plane being hijacked. I didn’t think anything about it at the time. [We] were joyful to be together in such a beautiful setting. We were at peace with each other, and surrounded by nature.


As we climbed down the stairs inside the tower I was singing, “I love to go a-wandering …” As we turned the third flight of stairs down, we met an old man climbing up. I joked to him “Don’t mind me.” He looked up at us. His eyes were welled with tears. He said to us “Did you hear what happened?” That’s how [we] first learned that both towers of the World Trade Center had been struck by hijacked planes.


By the time we got back to the lodge, the staff had setup several televisions in public rooms. None of these went unattended before we left on Wednesday. Most of the afternoon and evening activities at Mohonk were cancelled. The evening’s scheduled film, “Deep Impact,” in which the world is struck by an asteroid, destroying the eastern seaboard cities of the United States, was replaced by “City Slickers.” By sundown, the flag flying over Mohonk Mountain House’s highest tower was at half-mast.


Sometime Tuesday morning the initial denial had broken and I was able to watch one of the large-screen videos setup in one of the rooms. I watched for the first of many times the South Tower explode and crumble.

Like most of the world, my initial experience of the events of that day was remote. However, I also worried about my colleagues downtown. I learned they were all okay, that none had been physically harmed, and our workplace was unscathed, though everything was closed down for the first week, and gradually resumed normal operations over the following weeks. I wrote the following on October 15, 2001:

I work two blocks from where the towers were. I’ve seen it from the street, from the roof of my office building, from our lunch room … I try to approach my presence in the city at this time as a naturalist, observing and recording changes in the physical environment and the behavior of its inhabitants. I want to remain present without withdrawing, so I can bear witness.The fires still burn. [They burned for months, into the winter.] Smoke still scents the surrounding streets and buildings. While rain has rinsed most of the gutters, ash still coats statues, windows and rooftops. In low and sheltered areas, the rain and ash mixed with shredded documents from the towers to create a gray papier mache. The “Missing Person” posters – and only those closest to them held any hope they would be “found” – and sidewalk memorials of candles and the poetry of anguish, rage, and hope, are slowly eroding.


Ground Zero, September 27, 2001
9/11 memorials, Union Square Park, September 24, 2001
Missing Person Poster/Memorial, St. Vincent's Hospital, West Village, NYC

AIDS

Preceding all these singular events of recent history is the AIDS epidemic. I moved to New York City in the winter of 1979, and shortly thereafter settled in the East Village. This was an epicenter of what was first called “gay cancer,” then GRID, Gay-Related Immunodeficiency Disease, and, finally, AIDS, Acquired Immune Deficiency Syndrome.

Years ago, I gave up trying to keep track of how many people I’ve lost to AIDS. Lovers, boyfriends, friends, neighbors, acquaintances, shopkeepers, bar buddies … Where do you draw the line? I estimate that half of everyone I ever knew from that time of my life has died, but I will never know, and there is no way to know. A community, a way of life, was destroyed. I took solace in reading about the Black Death in Europe in the 14th Century, during which 30-50% of whole towns died. The devastation was so great and sudden that it led to the collapse of the feudal system: there simply were not enough people to work the land. That level of disruption was something I could relate to; I was living it.

This is a poem I wrote in July of 1993 on learning of the death of one of these friends, David Kirschenbaum, whom I knew from the New York City Gay & Lesbian Anti-Violence Project:

what would it mean
even to say goodbye
my words do not grant
another breath


searching for the grief
that must be felt
as I recall other men
other names


if I could let go
lose control
permit my tears
what would it change


it ends, it is final
no room for regrets
no hopes for another chance
it is over


helpless, in the face of death
living is the best revenge

Gardening

How does all this connect me to my garden, to gardening? The following also comes from my journal entry of October 15, 2001. I don’t think I could say it better today:

As I tend my garden, I recall how it was a minute, a day, a year ago. That flower was, or was not, blooming yesterday. This plant has grown over the years and now crowds its neighbors. A label in the ground shows where another plant has vanished. Should I replace it, or try something new? I weed. I plant. I water. I sit. The garden asks me to see it as it really is, not just how I remember it, or how I wish it to be. Gardening continues to teach me many lessons. Gardening is my prayer.

So I must be in the world. Remembering what was. Observing what is. Hoping for what can be. Acting to bring it into being. When we struggle to understand, we question what is. Science can ask, and eventually answer, “What?” and “How?” It cannot answer the one question that matters, the question for which Man created God: “Why?” Now, as with each new loss, I ask again: Why am I here? Why am I alive?

The only answer I’ve come across which satisfies me at all comes from Zen: The purpose of life is to relieve suffering. Not to relieve pain, or grief, or loss. These cannot be avoided. But to relieve suffering, which we ourselves bring into the world. Because death is senseless, the only sense to be found is that which we manifest in our own lives. The only meaning there can be in life is what we impart.

Related Contents

Grief & Gardening #2
My journal of September 11, 2001

My photos from September 11, 2001 (flickr set)

Links

Katrina

Wikipedia article on Katrina
NOAA Katrina archive

September 11

Librarians’ Internet Index compilation of 9/11 Web Sites

AIDS

An excellent “biography” (timeline) of AIDS in New York by New York magazine

Marie’s Garden, Saratoga, NY, August 26, 2006

[Updated 2006.08.29, 07:20 EDT: Added descriptions to remaining images. Added link to Bug Guide.]

Some beauty shots for my photo fans. All photos were taken this past Saturday, August 26 in Marie’s garden in Saratoga in upstate New York. The link on this post will take you to the flickr photo set of these pictures.

The following four images of insects are all cropped down from the original full frame to zoom in on the detail. I browsed and searched the photos on Bug Guide to identify the beetles.

Stiretrus anchorago, Anchor Stink Bug, on Goldenrod, Front ViewStiretrus anchorago, Anchor Stink Bug, on Goldenrod, Rear View

Stiretrus anchorago, Anchor Stink Bug, on Goldenrod, front and rear views. This guy was moving rapidly over the stalks, dipping his proboscis into each individual flower. I presume he/she/it was feeding on nectar from the flowers.

Megacyllene robiniae, Locust Borer, on Goldenrod

Megacyllene robiniae, Locust Borer, on Goldenrod. I apologize for this one being out of focus. This guy was also moving very quickly around on the goldenrod. This was the best shot I got.

Death in the Garden

Death in the garden. Taking a cue from Bev’s Phymata post, this stationary fly caught my eye. Not to mention that none of his/her/its feet were actually resting on the plant. This was a difficult depth-of-field situation. Again, I took several different shots with the focus on different plane in the image. This one gave me the best results overall, though parts are still clearly out of focus.

The rest of these images are presented full frame and unedited.

Phlox

Phlox.

Bark of Silver Maple

Silver maple bark with lichens.

Lichen on Rock

Lichen on a rock.

Black Walnut Foliage

Black walnut leaflets. Only these leaflets at the end of the leaf had turned red. The rest of the tree was still green.

News, August 22, 2006: Happy Birthday, Ozone Hole

Most recent analysis of the Southern Hemisphere total ozone from the an instrument on board the NOAA polar orbiting satellite. In austral spring the analysis shows the “ozone hole” (values below 220 Dobson Units) over Antarctica and the Antarctic Ocean.
Credit: NOAA

NOAA, NSF OBSERVE 20TH ANNIVERSARY OF OZONE HOLE ‘SUCCESS STORY’

August 22, 2006 — Twenty years ago this month, four teams of scientists from NOAA, NASA and two universities arrived in Antarctica seeking to determine the cause of a “hole” in the Antarctic ozone layer. Their efforts helped determine the chemical basis for the ozone loss and formed the scientific basis for the resulting international treaty phasing out the production of chlorofluorocarbons, or CFCs, which has led to a decline in ozone-depleting gases. …

The ozone layer is a thin, invisible layer of the Earth’s atmosphere about 15 miles thick. A British Antarctic Team first looked at results that showed a decline in stratospheric ozone over Antarctica in 1985, and doubted their findings. After rechecking their data and their instruments, they determined that there was a hole in the ozone. …

Theories about the cause included solar activity that affected the magnetic field, atmospheric motions and chemical reactions involving chlorofluorocarbons (CFCs), which had been used since the 1930s as refrigerants and propellants, such as aerosol sprays. … The work conducted by the Antarctic team in the 1986 field study was the first to show that a chemical reaction triggered by the CFCs was indeed the cause. Scientific papers have been published recently showing early signs of a leveling off of ozone loss, linked to the success of international agreements to control CFC emissions worldwide.

On Garden Photography

[Updated 2006.09.05 10:39 EDT: Reduced image sizes to fit displays with 1024×768 resolution.]
[Updated 2006.08.22 16:10 EDT: Added examples for each “consideration.”]

Susan Harris just posted Tenets of Garden Photography over on Garden Rant, in which she asks some provocative (to me) questions:

… let’s see how they [tips on improving vacation pictures] translate to our world.

The first advice is to not cut off people’s feet, which makes me wonder: is there a plant part that, if cut off, spoils the photo? And the admonition to avoid telephone poles coming out of your subject applies equally well to plant subjects as to human. But really, there’s lots more useful stuff here, like the fact that we usually see the subject, not the whole frame, and we should always “check the borders.” And my favorite – a discussion of qualities of light that goes beyond the avoid-harsh-sun advice we see everywhere to describe “sweet light” and suggest that flash be only during the day, never at night. I just love that counterintuitive stuff!!

Specific to travel, photographers are reminded to catch these elements: people, scenics, details, food, movement, action, and nightlife. So what do you suppose the must-shoot elements would be in gardening photography? Maybe entrances, whole borders, close-ups, small plant combinations, animals, and such hardscape as seating, stone, wood, and statuary. What else?

I started leaving a comment there, but after my comment started getting longer than her blog entry, I thought I should write my own in response!

I’ve been “a photographer” since before the age of five, almost more decades than you can count on the fingers of one hand. The way I’ve photographed, and how I share my photography, has changed a lot over my lifetime. It continues to evolve, not only in response to the huge technological changes, but also to changes in me and my life and interests.

I don’t remember the last time I used a “real” (film) camera. The time lag for feedback between what I thought I shot and what I got made me try to make every shot count. Without access to a darkroom, or the skills to take advantage of it, I learned to compose my shots “in camera”: to carefully frame each shot in the viewfinder to get exactly the picture I wanted to eventually see.

Starting about 1980, I shot slide film exclusively. I “edited” each roll I got back, going through every slide, and selecting the ones which were not only technically perfect (focus, exposure, and so on) but which also captured what I was striving for when I took the picture. At most, I would get two or three “good” shots out of the roll; maybe 1-5% of all the photos I took. These are the only ones which anyone else would ever see. From this population I selected maybe 10% as “candidates” for printing. Again, maybe only 10% of these ever made it to paper. So most folks only saw a tiny percentage, less than 1/1000, of all the shots I took. And yes, I shot thousands of images each year.

Digital photography, blogging, and social networking sites such as flickr are allowing me to share my photography in ways it would have been far too expensive or cumbersome to do in the past. I can experiment more wildly, since I can get immediate feedback on the success of the shot, and the cost of making mistakes is only the time it took me to setup and take the shot. (And delete the mistakes!)

But I’ve kept my old habits. I still compose in camera, and take the time to setup each shot, even though I could easily crop the image on my computer. I don’t dump every photo I take into public view; I still edit the collections. I still go through each image, deleting the ones which are out of focus, or shaky, or under- or over-exposed. Some of these could be corrected digitally, but, unless I have only one image of something, it’s not worth it. There are other, better, shots in which I got what I wanted.

And some things are unchanged by the technology. The qualities of light, dimensions of composition, and the sensuality of beauty and nature are, in deep ways, eternal. It’s my challenge to capture those eternal qualities in a frozen image.

I’ve got two basic reasons for my garden photography: beauty and documentation. While they’re not mutually exclusive, my goal for any shot is primarily one or the other. Good examples of both, and examples of all of the following considerations, can be found in my recent series of photos of “Baby” at the Brooklyn Botanic Garden, as well as the other photographs in this blog.

Some of the things I consider in my photography are:

Balance

Balance

This doesn’t mean that the top and bottom, or left and right sides, are mirror images of each other. Balanced asymmetry is much more interesting. Think of a larger and smaller person on a seesaw, and how they move along the beam to balance each others weights. A classic photographic example is the horizon line; it looks best above or below the center-line of the image, depending on where the interest lies. In garden photography, to achieve this I either let the primary subject fall to one side or the other, or let the line of the subject follow a diagonal across the frame.

Scale

Scale

Related to balance, but especially important for documentation photography, is providing a sense of scale in the image. This usually involves including some familiar artifact, such as a chair, path, building, or other “hardscape” element in the image. People are also good for providing scale!

Scale

On the beauty side, some of my best photography plays with and disguises or distorts the sense of scale. Macro-photography is one of my favorites for this. Seeing things close-up, the views we usually never stop to see, allows us to see things in a new way, to see details we would never notice. There is so much beauty in the world which we miss because it is too big or small (or we are too small or big) to see it all at once.

Color

Color

Of utmost importance for me, which is why I shot slide film. Related to this, the best color is achieved by slightly under-exposing the image, by 1/3 or 1/2 stop. This leaves the colors more “saturated” and less washed out, making the image more vivid and natural looking. Subtleties of color and variation in color are themselves often subjects of my photography.

Light

Light (Redwoods, Muir Woods)

My favorite photographs are able to capture the quality of light which was present when I took the photo. This is a big challenge, but awareness of light – its color, its direction, its qualities – is important to consider when taking the shot. Overcast days are the best for garden photography. With reduced contrast between light and dark, not only can colors be more saturated, but texture and structure don’t get lost in the shadows or washed out in sun.

Think of light streaming through the leaves and trunks of trees, or the crepuscular rays of sunlight between clouds. Light becomes visible in these ways when it’s scattered by moisture or particles in the air. In other words, the light is making the space visible, giving a three-dimensional quality to the image, and providing the viewer with a palpable sense of the place in which the photo was taken.

Time

Time

Everything is changing all the time. In the garden, some of these changes are obvious, but mostly they are visible only over time. Capturing the different stages of growth of plants and their parts is, again, a way of helping us see the things we would otherwise overlook.

The fronds of a fern just emerging from the ground are incredibly detailed, but we rarely see or observe them then. A bud before it opens, or the dried husks of plants in winter, these are things which are also part of the garden, and also beautiful. They are reminders of how fleeting it all is. How temporary and ephemeral is each moment in the garden, as are we.

Balance, Time

Media, PBS: design:e2 (the economies of being environmentally conscious)

… the series introduces us to the inventive leaders and technologies
driving sustainable practices worldwide in the design of buildings where we
live, work, and play.

The first episode, “The Green Apple,” [ie: New York City] demonstrates
how the ubiquitous skyscraper can surprisingly be a model of environmental
responsibility. In the second episode, architect and activist Sergio
Palleroni continues his mission to provide design solutions to humanitarian
crisis regions. “The Green Machine” follows Mayor Richard M. Daley as he strives
to make Chicago “the greenest city in America.” The fourth episode takes
the notion of the three R’s (reduce, reuse, recycle) to grand proportions by
turning Boston’s “Big Dig” waste into spectacular residential design.
“China: from Red to Green?” depicts a country at its tipping point and finds a
sustainable solution in Steven Holl’s Beijing project. The final episode,
“Deeper Shades of Green,” presents some of the most remarkable visionaries who
are changing the face of architecture and environmentalism: Ken Yeang, Werner
Sobek and William McDonough. Check your local
listings
to find out when these episodes will air on your PBS station.

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Heirloom Plant Profile: Canna “Cleopatra”

While last week I was obsessed with Amorphophallus titanum at the Brooklyn Botanic Garden, I’ve also been having my own plant watch here at home.

A month ago I blogged about ordering bulbs for next year. I noted that I had ordered Canna “Cleopatra” from Select Seeds this Spring, but I doubted whether that was what I had received. The leaves are supposed to be variegated green and bronze, but the leaves at that writing still showed only green.

July 16, 2006


Thinking I didn’t get what I wanted, I ordered replacement bulbs from Old House Gardens for next Spring. I just needed to be more patient. The sequence of photographs shows how quickly it transformed. I think the heat wave we had really got it going. I planted three bulbs in a large pot in the front yard. I’ve now got three flowering stalks. It’s attracting comments from all the neighbors.

August 4, 2006

August 6, 2006

August 10, 2006

August 11, 2006

August 12, 2006

“Cleopatra” was introduced in 1895. It’s also known as the “Harlequin Canna” for its variegated leaves and flowers. The variegation is unstable and unpredictable; you can see from the photos of my plant that the flowers appear different even on the same stalk of blooms. It seems to me it might be a chimera of two different varieties fused together. In other words, it’s a freak, and a Victorian freak at that. That’s why it will always have a place of honor in the heirloom garden at the front of our 105-year old Victorian house.

Sources:

Insects: Lygaeus kalmii, Small Milkweed bug

Lygaeus kalmii, Small Milkweed Bug, on unidentified flower in Garden #4, Flatbush, Brooklyn, NYC. Photos taken: July 3, 2006


I noticed this critter for the first time earlier this year. I’d never seen it before. The red and black markings are so striking, especially the black heart on the red back, I thought it should be well-known and easily identifiable.

I took some earlier, bad photos, but lucked out with these. Still not as crisp as I would like. It was difficult to photograph, since I had to get so close with the lens and it kept moving around. Guessing that it was in the Order Hemiptera, the “true bugs”, I found some matching photos on Bug Guide, which identified it as Lygaeus kalmii, Small Milkweed Bug.

L. kalmii is in the Lygaeidae Family, the seed bugs. Milkweed bugs eat, incredibly, milkweed seeds. I’ve said the flowers above are “unidentified,” since I simply scattered some extra seed in that spot in the garden this spring and didn’t label it. But now that I think of it, I did have seed of some Ascelpias species, so this is probably one of them. Insects helping me identify what I planted in the garden … I like that.

The black and red-orange coloration is shared among many species which feed on milkweed, including Monarch butterflies. It’s a warning to predators, such as birds, that they taste bad, from concentrating bitter compounds from the milkweeds in their bodies.

Links:

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