Love in the Time of Coronavirus Part II

 

This is the place on my website where I share/have shared, for the past 10 years, words on art and ecology, healing and nature.  At least bi-annually I write on the process of making art as a sacred practice, my inspirations in nature, experiences as an artist and something about the ecology of the places where I hike.  Especially in regard to special places along my beloved Rio Grande and in the mountains of Albuquerque, the Sandias, the ever changing, often at sunset watermelon- colored mountains, I like to visit them in words as well.  

A gorgeous warm November day, the sun a white presence behind thin clouds, I have been like many, reflecting on this year, these quarantine days. What a strange year it has been. But in the midst of all that is irregular, I find myself repeating a gathering, for the second year in a row. Patches of Yerba Mansa in the woods are small offerings of calm.  I have collected a few dark pieces of the mansa root and started one batch of brew in October and will start another on the New Moon this coming Sunday.  The first one that I made is already dark and rich, I sampled a bit last night but thought it may be premature. I will keep that little jar in the dark for a couple more weeks at least.  This second one will be interesting to compare to the first and see if there is a difference in the harvest.  It’s recommmended that the roots soak in alcohol, in the dark, for a month or six weeks before it is ready to be a healing tincture. 

This patch is a place near to me, on the east side of the river where I often walk with my golden dog, Belle. The low growing plants are endangered due to lack of healthy habitat and so I have watched this patch for several years reluctant to take any of the roots. But last year a friend took me to a larger patch a bit farther south and on the other side of the river.  I have been grateful for that brew this year in 2020. Many evenings when I needed to settle my anxiety, and there was much this year, I would make a micro- cocktail with a teaspoon of the tincture and a little cherry juice. Like an aperitif, it would settle me down just a bit. I love the Yerba Mansa- especially its indescribable scent, a rich earthy smell, unique with a bit of a spicy high note. As a healing remedy it has been used for generations, this plant medicine also known as lizard tail, swamp root, manza, Anemopsis de Californie, and Anemia Californica.

Digging with a sturdy stick I find a place where the root is close to the surface and take a piece about three inches long, leaving some of it still hidden underground.  I re-cover what is exposed with some leaves that fell upon the area. A forest of bliss this place is for me, thin but full with many stories: coyote sightings, sandhill cranes in the winter, once a rare bobcat passed through and now, the cottonwoods ever magical presence a yellow canopy overhead just starting to fade. I have been walking through this bosque along the river for almost thirty years. 

Mansa prefers very wet soil or shallow water and I imagine the bosque floor must have been covered with it when the river was allowed to flood each spring.  Now the flood plain is controlled and there is little to no water in the river and very rarely flooding in the spring. In the three decades I have lived here, I have only seen a flood in spring twice.

I have been under the impression, perhaps the false impression, that the Yerba Mansa was used traditionally as a sedative but looking up the medicinal uses that is not how it is listed. Interesting, as I have been feeling that it is helpful in that regard but perhaps it was the Sotol, the agave nectar that it was made with, that actually settled me.  I find that it has been used to treat inflammation, so in that way, it is calming; as an antimicrobial; to treat gout; an excess of uric acid and as a poultice to relieve muscle swelling.  

Another source lists it as a remedy for the common cold, a pain-killer, for digestive problems and tuberculosis. There is a long list of medicinal uses listed by Michael Moore and other herbalists including chronic bronchitis, cough, anorexia, used in the forms of oils, tinctures and topical doses. Yerba mansa leaf tea and the root is used to treat uterine cancer, ease menstrual cramps, induce conception, and staunch excessive bleeding after childbirth (Bocek, 1984; Artschwager-Kay, 1996); as a treatment for other gynecological conditions including yeast infection, and vaginitis (Moore, 1989; Davidow, 1999); or to treat venereal sores and ulcers (Bean and Saubel, 1972) 

Michael Cottingham, clinical herbalist, says you can use Fresh Root Extract, which contains more medicinal aromatics. Make a “ 1:2 Fresh Root Extract, using at least 70% Alcohol as your menstrum or solvent. You can also, make a Dry Root Extract, using a 1:5 ratio, and at least 60% Alcohol as your solvent. There have been times when I have made a Whole Fresh Plant Extract, using Fresh Roots, Leaf, and Flower.” *

He says, “Yerba Mansa is so good at treating bacterial and viral infections, but excels at bacterial infections in ANY of the mucous membranes, especially when there is a lot of inflammation present!”

Use for:

#1  Rhinitis, sinusitis, or upper respiratory, inflamed and infected (bacteria) situations - 

Adult Dosage: 25 to 50 drops, up to 5 times a day. Add drops to big glasses of water for more effectiveness. Remember water is a vehicle and substance that creates movement. Water is an important remedy when treating inflamed and infected mucous membranes. 

#2 Joint Inflammation - Any kind, but if there is a suspected bacteria origin, even better! In Lyme Disease, the bacteria often lives in the joints of its host, causing super inflammation and pain. Yerba Mansa is well known in the Mexican Herbal Tradition for treating gout, arthritis, and just about any type of joint inflammation. 

Adult Dosage: 30 drops, up to 5 times a day. Again, always add to a big glass of water.

#3 Gum Inflammation, receding gums, periodontal disease, especially if from a bacterial presence. 

Adult Dosage: As a Mouth Rinse - add  30 drops of Yerba Mansa extract to a cup of saline (salt) water, and rinse and spit. Do this 2 times a day.  You can also take internally, an additional dose of 20 drops, up to 3 times a day, especially if your gum or mouth trouble is from a suspected bacterial infection (which most are!).

#4  Subacute head cold, with thick mucus. 

Adult Dosage: 30 drops of Fresh Root Extract in a warm glass of water, up to 5 times a day. Sometimes, a warm cup of Fresh Ginger Root Tea, with drops added is spectacular in its relief!

Good for what ails us during the time of the coronavirus. We are living through such uncertain times and it is comforting to me to find solace in the forest, through the rhythms of nature. At the changing of the leaves on the cottonwoods, the stillness of the Yerba Mansa plants below offer many different shades of brown as they transform in fall. A few sandhill cranes pass over us the next day when we return, a lone Great Blue Heron makes the screeching sound of a dinosaur and ducks squeek on the ponds. 

*Note: See September 17, 2015 at www.voyagebotanica.net Part 2, January 3, 2019 and January 30, 2020, The Spice of Life Tea by Michael Cottingham, clinical herbalist

 

Love in the Time of Coronavirus

Corona: from Latin, 16th century, meaning wreath or crown

We are in the midst of the first weeks of self-quarantine in the United States due to the novel coronavirus. Other places, China and parts of Europe, have already been in a state of lock down, so news from abroad has prepared us in some ways psychologically, but not in the real time experience of it. A strange surreal moment, one of great uncertainty in the world.

This global focus on a singular stunning issue reminds me of other times in my life: the assassination of president John F. Kennedy, when I was in grade school and my teachers wept. When his brother, Robert was assassinated the world was again, galvanized in disbelief. The images of those shocking moments were played and replayed on television, seared into the collective consciousness. Through the following thirty years we watched more violence and social unrest and maybe became somewhat complacent to the events of war, of civil rights for all, of inequality, of rivers burning, of oceans of toxicity, of animal extinctions, as they unfolded before our eyes. Or maybe we became numb. Maybe we still believed in separation. Many things kept us in illusion.

Another state of focused urgency erupted at Y2K when we thought the technological systems in place would rip the net of communication down around us. We worried that at the stroke of midnight on December 31st, as if we were at Cinderella’s ball, that the electronic strings of time, pulling us into the 21st century, would disappear. I remember being afraid that the collapse of computer systems would disrupt everything we had come to depend upon. The murders of the Kennedy brothers and Martin Luther King Jr., these fallen kings, left a terrible dark stain on democracy but Y2K turned out to be a minor glitch. There was a much more ominous event the following year on September 11th, that brought the world to its knees, a far more shocking, focal point.
     In the era of terrorism, perhaps we think that nothing could shock us anymore, yet, here we are stunned again by the sudden and overwhelming outbreak of Covid-19 and all of the economic repercussions. We are in fight or flight with neither option available to us. As so many sad stories are being revealed, it is hard to sort through, the number of cases now global; we are overwhelmed with a tsunami of information to be considered.
     Already in this short term perspective, it is awakening our compassion and the realization that we truly are not separate. One elder care center in Kirkland, Washington has lost 29 residents to the virus and more in the facility have tested positive, both residents and employees. Crews of workers in white jumpsuits are in day three of cleaning the facility, the invisible nature of a virus is not so easy to contain or clean away. Forces which have significant influence, especially on our elderly are evident in the number of deaths. We
may not understand what this novel virus is exactly but we know that it is not a common cold or flu. We know that we do not have immunity, the definition being relevant to the zeitgeist: bodily protection from something foreign. And not having the ability to resist a particular infection with specific antibodies or white blood cells is what it seems we are struggling to comprehend. We do know that many people are recovering and children it seems have a greater resistance to Covid-19. Thankfully!

I woke up in the middle of the night and thought about the trinity; in the Christian faith, God is said to be a trinity on earth. The meaning of the Holy Trinity is rolling through my thoughts, as it seemed I had an epiphany at 3 am, and now to put insight into words in the light of day is more challenging. We are made form through our bodies, through our mothers’ bodies, but we are not form in our souls. We come from the unity of Creator into the illusion of separation. From the formlessness of Divinity into form, however we choose to name the great mystery, we are made manifest through Spirit. We are here it would seem to recognize there is something more powerful than our egoic selves.
     We cannot survive this deluge without trust in a higher power, the God of our understanding; whatever we believe in individually, may we be guided through this storm. May we learn to trust each other. Love in this time of uncertainty means opening our hearts with compassion to the world, to our family and friends, to our communities, trusting in something greater than fear. I recently heard it said, both faith and fear require a belief in the unknown. Our choice. We can be in unity and love or continue to believe we are separate.

Creativity, Maybe the Silver Lining

There is a way through the illusion of separation as we feel more connected than ever before. We can take time to be still, to sit in the light of our sacred hearts, for ourselves and all of our relations. For that is the best medicine.

We are mentoring each other through creative ways to engage. Through our imaginations we can deliver one another from the overwhelming fears. The trinity is about creator energy and that is what will get us through these difficult times. Ask any painter, ask a musician and they will tell you, that you practice and practice. You run scales for years so that you become proficient enough to sit at the piano for a recital. And then you have to give it over to something greater, step aside and let spirit flow through your being.

This is the time we have been waiting for, many have felt that we were on the brink of something big prior to the viral outbreak. Now is the time to link to one another’s hearts, to feel the great interdependence we share and create the new world together.

The Corridors of Migration

All of the images under New Work: Ornithology 2015-2017 were made in honor of the feathered ones who inhabit the places along the corridors of migration in New Mexico where I reside, the flyways of the Rocky Mountains and the middle Rio Grande.  The image of the wings of a Sandhill crane were painted from actual wings, found in a migratory sanctuary lying in a field like the wings of an angel.  They were attached to a clean breast bone, but no other signs of the bird were in plain sight.  I came upon them walking through a field just at the end of winter’s sleep, in February, after the Sandhill cranes flew north for their spring mating rituals. Emptied of the magnificent flocks of snow geese and cranes, I was somewhat forelorn that the cranes had gone, when I came upon the wings of a Sandhill crane.

Sandhill cranes, (vulernable to loss of habitat and degradation of habitat at major stop over points during migration), a Great-horned Owl, and the wings of a Barn Owl were each painted from the remains of life.

Please click the link at left for New Work: Ornithology, 2015-2017, to see more images.

 http://deborahgavel.squarespace.com/ornithology/

Collateral damage in the eco-system*

Some scientists say birds are more resilient to the perils along the Rio Grande and elsewhere because they can fly above the fray.  But they have to land at some point and within reach of a nurturing healthy habitat.  I found a Barn Owl, Genus Tyro, family Tytonidae, along the 1-25 freeway, in the breakdown lane, with one wing moving in the wind as if it might be waving. It had been very windy the night prior, perhaps it had been hit by a vehicle or crushed by high winds while hunting in the orchard above. The size of it, Its heart-shaped face and large dark eyes reminded me of a human infant’s face framed with a ruffle of lace.

We live in complexity. We consider city infrastructure as “normal;” the result of industrialization and militarization that cannot easily be turned backward on the calendar of our evolution.  There are consequences to our destructive behaviors, to our lack of mindfulness in nature.  On personal levels as well as in the macrocosm and the microcosm of nature, we are all effected by environmental destruction.  All plants, animals and minerals are part of the same earth space.  So much “collateral damage” is the consequence of our seeming inability to walk on earth in equanimity.*  

Just as the bones of our bodies, and the bodies of all living beings, are joined to make the whole functioning organism, so mirrors the larger body of Mother Earth.  We inhabit a system that is conjoined, so to speak, to each and everything through the shared existence of our mother ship’s atmosphere.

* “Collateral damage” see Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, Milkweed Editions.

Valentine: The Voices of Trees

A few minutes ago every tree was excited, bowing to the roaring storm, waving, swirling, tossing their branches in glorious enthusiasm like worship.  But though to the outer ear these trees are now silent, their songs never cease.  Every hidden cell is throbbing with music and life, every fiber thrilling like harp strings, while incense is ever flowing from the balsam bells and leaves.  No wonder the hills and groves were God's first temples, and the more they are cut down and hewn into cathedrals and churches, the farther off and dimmer seems the Lord himself.  ~John Muir

How the land must have pulsed with the magnificent movement of trees. Impossible to comprehend what the great primeval Redwood and Sequoia forests of California must have been like before we chose to cut them down. In 1850, old- growth redwood forest covered more than 2,000,000 acres of the California coast, until the rush for gold and resources changed the situation.

The trees' dusty green needles knitted a fresh carpet each year when they floated down to the earthen floor.  Their branches forming an evergreen canopy mirrored by their deep roots, keeping the enormous vertical giants in place. What our ancestors must have witnessed we can only imagine.

Recently, I mourned the passing of beloved poet, Mary Oliver and noted how close she, as well as Muir, lived with trees.  She writes about her green sisters and how she loved to climb up into their branches and attempt to count their leaves.  She was admonished for this. Some said it was risky behavior for her age and she might end up in hospital.  She replied,

"I try to be good but sometimes a person just has to break out and act like the wild and springy thing one used to be. It's impossible not to remember wild and want it back."

Oliver's trees must have delighted in her wildness and the feeling of her walking upon their branches, praying attention to their every leaf. It seems she embraced life fully and the great arm of Cape Cod, which held her will not be the same in her absence. Nor will the many who drank up her words like a spoonful of medicine.  Remedy for grief: We have her poems, yes, and all the meaningfulness of them. We have the many voices of nature through her words of trees and leaves and all her feathered friends.  Certainly, the wrens who are singing through the branches around her dear Black Pond.

A Dream of Trees

There is a thing in me that dreamed of trees,
A quiet house, some green and modest acres
A little way from every troubling town,
A little way from factories, schools, laments.
I would have time, I thought, and time to spare,
With only streams and birds for company,
To build out of my life a few wild stanzas.
And then it came to me, that so was death,
A little way away from everywhere.

There is a thing in me still dreams of trees.
But let it go. Homesick for moderation,
Half the world’s artists shrink or fall away.
If any find solution, let him tell it.
Meanwhile I bend my heart toward lamentation
Where, as the times implore our true involvement,
The blades of every crisis point the way.

I would it were not so, but so it is.
Who ever made music of a mild day?

 ~Mary Oliver

We love you Mary Oliver and we love you John Muir!

Acoma Water Vessel

A hand-cut staircase was the original way to enter Sky City, the place of the People of White Rock. The stone stairs lead up a cliff wall to the top of the mesa, where the Acoma people have their centuries old village; the place Willa Cather called, “cloud-set  Acoma.” An island rising out of a vast expanse, still much as it was hundreds, perhaps thousands of years ago. The place of Sky City is believed to be one of the oldest continuously inhabited areas in the United States. Once an ancient ocean bed, high sandstone rocks like fortresses grow up from the old ocean floor. Sky City rests upon one of these mesa tops, 357 feet up, built between 1100 and 1250 AD. It is still inhabited today by the Acoma people.

Simon Ortiz said in the book of photography by Lee Marmon, The Pueblo Imagination:

Aacqumeh stdah. Daistih-meh studah.

   I am an Acoma person.  Here is wherefrom I am.

When you see Aacqu in the distance, say looking from the mesa to the north above Ghoomi Springs, just before you descend into the Acoma Valley, you think that or you say it out loud. 

An exceptional place, a place it is said, "that always was." Even though the dwellings are austere and small, the views alone are worth any sacrifice of comfort. There is no source of water, so those who live there must bring up all they need for cooking, bathing and drinking just as they always have, though now they can bring it up by truck.

Francesco, came to replace the water heater (our contemporary water vessel) in my city residence last fall. While he was working we had a conversation about the convergence of cultures here in New Mexico. He shared with me that his wife is from Acoma pueblo. They reside and work in Albuquerque now with their five young children. His wife is the honored lineage bearer for her Grandmotherʼs water vessel. An earthenware jar that was used to hold precious water, it is painted with patterns which encircle the form, in the style of the Acoma people.

Francesco told me that his wife had this pattern tattooed on her left shoulder in reverence to her ancestry, her Grandmotherʼs history and her own. It is a pattern that runs deep like the water itself. I cannot imagine how the vessel has survived at least four generations.

Acoma pottery is traditionally painted with fine geometric patterns that have a curvilinear grace, a oneness with the roundness of the vessel. They often have absolutely exquisite designs. Usually three colors, a white ground with black lines and red-ochre details. I believe that the Acoma pueblo descendents must have a centuries old connection to the Mimbres and Anasazi pottery designs, ancient pottery from the southwest region which is now part of New Mexico. 

One contemporary Acoma artist, Dorothy Torivio, uses just black lines on the white clay, striking a net of connections with the forms of circles, and six-pointed flower shapes. The pots have very smooth surfaces made from fine clay. The lines are painted on the vessel, not with brushes but with fibers from a yucca plant. Yucca are spiky plants with long thin and pointed leaves. An Acoma potter, with a beautiful smile, showed me how to cut a spike and pull back the skin with his teeth, to expose the thin hairlike
fibers within. When the fibers are exposed they spread out into a fan shape and the resulting tool looks just like a brush, an organic natural brush. Holding it in my hand, there is a delicacy to it that invites me to try it with paint on canvas.

Some words I came upon in a gallery in downtown Albuquerque, where Dorothy Torivio shows her work, describe the process of creating the pottery:

Authentic Acoma pots are made from local, slate-like clays. When traditionally fired, these clays produce a very white vessel. After they are fired, these clays also are strong enough to allow the production of very thin walls. ... the Acomas use both mineral and vegetal based paints for their designs. The characteristic white backgrounds allow the Acoma potters to produce crisp black images, as well as rich polychrome designs.

The people knew how to live in connection with the Great Spirits of the air and land and little water, in harmony with all that is.  Their vessels were not art for arts' sake, but considered constuctions with beautiful function. I wonder if we as a society would be more cautious with our water usage if we had to carry our water each day, not in plastic vessels but in ones carefully crafted and hand-formed of fired clay?

Something of a holy relic now, this water vessel from Acoma, I want to know more.  I want to ask a whole lot of questions.  And I want to see the holy water vessel in person, but Francesco does not respond to my message to interview his wife.  I am still thinking about the story of the vessel over a year later.  Like a vessel, the story holds.

Excerpt from a book in progress, The Forever Wilderness of Mother