November 30, 2010

A Few of My Favorite Things


This is the Autumn Moon from early Summer to Fall.


This is Autumn Moon in its Fall finery .

Fer at My Little Garden in Japan invited us to post on favorite plants.

 During Springfling Chicago 2008 more than 50 garden bloggers from across the U.S. visited my garden and were smitten , as was I, by my Autumn Moon Maple  ( Shirasawanum 'Autumn Moon ' ) .    It reigns supreme as one of my all-time favorites.


Brunnera macrophyella ' Jack frost '

Even when not in bloom the gorgeous foliage of Jack Frost Brunnera is outstanding and makes a bold statement.

Clematis 'Bee's Jubilee '

Want a gorgeous show from a climbing vine throughout the summer?  I had Bee's Jubilee blooming in November this year.  Its an outstanding repeater.


Viburnum carlesii 'korean spice '

For Spring fragrance and Fall color its hard to beat Korean spice viburnum.


And for flavor,  the perfect fruit tree for a small garden is the Asian Pear.  It tops out at 15 feet and bears an abundance of delectable fruit.  Unlike the Western variety of pears this one is firm, juicy and keeps for a long time.



The list is endless so I'll finish by saying that the Knockout rose shrub is without peer when it comes to long blooms  ( June -November ), disease resistance and fussy-free.

November 27, 2010

GARDEN MVPs

This month's special double issue of Horticulture magazine  ( Dec./Jan.) featured me and 6 of my fellow Garden Designers Roundtable members in an article titled Garden MVPs.

They asked that each landscape designer describe their favorite plants and its companions .  Here are mine :

                              Acer shirasawanum ' Autumn Moon '




One look at "Autumn Moon ' ( Zones 5-8 ) and you'll know why it's my favorite - it is a showstopper.  Its beautiful chartreuse color is effective  all summer and in the Fall it turns a beautiful intense pink/red.

I've used periwinkle beneath this maple because its beautiful shiny evergreen leaves contrast so well with the tree's foliage.  My second favorite companion plant for 'Autumn Moon ' is the Azalea ' Karen ", a compact shrub with vivid May flowers.  A good third companion is Chameocyparis obtusa 'Nana' or dwarf Hinoki cypress.  It is a most unusual, artistic evergreen with an outstanding shape that goes well with both the Japanese maple and the azalea.

As if that weren't enough, another great feature is DIVAS IN GREEN in which  garden blogger Carol at May Dreams Gardens, Kylee Baumle of Our Little Acre and others write of the plants which " they'll jump through hoops for . "

November 24, 2010

A Thanksgiving Memory


Although it looks similar to the log cabin of my childhood  this one is actually located in Blowing Rock, North Carolina.


My two sisters and I were excited about the first Thanksgiving at our own home after spending 6 years in a nearby orphanage following our mother's death.  We had a fire going in the fireplace in the log cabin and elder Sister Wilma was busy preparing dinner and shouting orders for us to help.  

We couldn't afford a turkey but the fattest chicken in the barnyard and a smoked ham , sweet potatoes , green beans, corn and fluffy buttermilk biscuits made a "gracious " plenty as we say in the deep South. 

As we gathered to eat the bounty of the earth my father had worked so hard to produce on that red Alabama clay,  we gave thanks that we had a roof over our head and food on the table.  We prayed for our brother Cecil , a soldier in the Korean war , and asked God to return him safely to us.

We were but poor farmers and knew that others in our town had much more material wealth than us but we felt rich with the simple blessings of good health, food and faith in God and family. 

I think of that Thanksgiving long ago as I gather with my own children and family.  There's a big fat turkey with all the trimmings but nothing will ever taste as good to me as that simple meal at our first Thanksgiving together as a family on that hilltop cabin in rural Alabama.

November 22, 2010

Beyond Burning Bushes -Fall Color in the Garden


November has been one of the best that I can remember and indeed one of the warmest on record here in Chicago.   The colors were also spectacular this year and I was amazed how many of my  perennials, shrubs and trees  show off their Fall finery.

Quite often burning bushes are the only Fall color in many landscapes but there are so many other options such as the ones shown above :  Maples, azaleas, spirea, bergenia, boston ivy, viburnums and oakleaf hydrangeas .

A garden with interest for every season - Tulips, Daffodils, Pansies and other bulbs in Spring,  Lilacs, Roses, colorful perennials and annuals in Summer,  Viburnums, Maples, Mums, Asters and Oakleaf hydrangeas in Fall and evergreens for Winter make a great palette.  Of course the bounty and beauty of an ornamental Kitchen garden is also delightful.

As I close the garden season for this year I am grateful for the extra month that Mother Nature provided.    Soon the snow will cover my still blooming Dianthus and Mums and I will begin dreaming once again about Spring and a new garden season.

November 15, 2010

Garden Blogger's Bloom Day at Sweet Garden Chicago Nov.2010.wmv


Written by Carolyngail at Sweet Home and Garden ChicagoAll rights reserved

November 12, 2010

GARDENS, AGING, AND FILM

Part II of Caring to Cultivate on the Long Row of Life by Dr. Scott Wright, continues.


Scene from Village of the Watermills

Although Jung’s use of the rhizome metaphor supports the philosophical impression of life as continuous and unending, despite the relentless seasons and centuries of time, gardens are very much transitory and impermanent. And so while gardens can be perceived as being artistic (Albers, 1991), they may not necessarily represent the outcome that matches the Hippocratic dictum, “Life is short, art is long” (Ars longa, vita brevis) in the sense that the garden is cultivated and cared for in an effort to outlast its caretaker. For example, Harrison points out that,

Gardens are not memorials. They may, as long as they last, be places of memories or sites of recollection, but apart from a few lofty exceptions they do not exists to immortalize their makers or defy the ravages of time. If anything they exist to reenchant the present (p. 39).

Yet, one long-lasting medium for the expression of art is through the vehicle of film.And it is here that we will examine the crossroads of the use of garden imagery (symbolic and realistic) in relation to the aging process. In the growing array of films (see Yahnke, 2003) with the primary characters as older adults or aging themes 7 (e.g., On Golden Pond, Cocoon, The Trip to Bountiful 8, Driving Miss Daisy, About Schmidt, Strangers in Good Company, Foxfire, Iris, Away From Her), I will focus on three in particular that will capture the topic in this section: Wild Strawberries, Dreams, and Grey Gardens.

Wild Strawberries is the 1957 film by Ingmar Bergman which depicts the story of Dr. Isak Borg (played by the veteran Swedish director Victor Sjöström who was die soon after the filming and was paid tribute by Ingmar Bergman at the Swedish Film Academy in 1960; see Bergman, 1960) who is traveling in his car to receive an honorary degree. But at the start of the day and along the way, Borg is subject through several flashbacks and fantasies, dreams and nightmares. The symbolism is rich and heavy as Borg is forced to face his past, come to terms with his faults, and accept the inevitability of his own mortality. Erik Erikson (1978) has provided a comprehensive analysis, based on his own theoretical interpretation, of Bergman’s film and offered interesting insights into the personality of Dr. Borg and interpersonal dynamics with his daughter-in-law Marianne and host of other characters in the film. It is here that Erikson sees the emergent virtue of care as a necessary strength for “the life cycle as well as the cycle of generations” (p. 7).

For example, Erikson (1978) noted that the tensions found between Dr. Borg and Marianne and Borg’s son Evald reflect the core issues of generativity such that it is Borg who must confront his own rejectivity and the resulting lack of care and interest in his own family and many others around him (see also Weiland, 1993). The turning point for Isak Borg, and obviously the primary inspiration for the title of film, is when Dr. Borg leaves the main highway (his journey of life) and drives down a side road to revisit an old summer home (a chance for reminiscence and remembrance out of the rigid pattern of living in rote predictability). As he walks closer and Marianne leaves to go swimming in the sea, Borg remembers a specific location that would serve as catalyst for a reawakening much like the Proustian Madeleine, but in this case, it is strawberry patch near the summer home (Archer, 1959). And it is here that we find a richly layered symbolism that involves the magical transformation of the landscape surrounding the home into blooming plants and trees, and lush greenery. Even though the film is in black and white, one can almost imagine that large yard as colorful as Monet’s gardens at Giverny. The wild strawberries that grow along the side of the yard are the triggering mechanism to transports Borg back through time and allow him to revisit his own young adulthood in relation to Sara, his “first love.” In this film, the bounty of the earth in the form of wild strawberries is richly symbolic of the decisions made and the missed opportunities at forming intimate relationships (with Sara) and the resulting isolation and aloofness that made him think of himself as a “living corpse.”

Erikson (1978) offers his analysis of the Arcadian scene,


…one senses that this whole earthy scene, beyond its precious gaiety and its symbolic reference to defloration, points to something primeval, some garden, long forfeited by Isak (p. 8).


It is also intriguing that strawberries are prominent in the landscape of the painting by Hieronymus Bosch, Garden of Earthly Delights, which perhaps symbolizes the domains of temptations and earthly pleasures. We shall present more on that painting in the next section. But the revisiting of the patch of wild strawberries helps to break down the walls of Borg’s enclosed garden of generational isolation, and he then begins to revel in the possibility of love and caring – and sharing beyond himself. Later on in the film, Borg is presented with the gift of flowers by his young travelers who wish to celebrate in his celebration event in his honor at the university, he has achieved an understanding of how he needs to be fully engaged with life and begin to fulfill the need to facilitate a “maintenance of the world.” At least from Erikson’s perspective, that small patch of botanical life, the wild strawberries 9, are at once symbolic of the epigenetic pathway and a crossroads through adulthood and into the commitments of mature caring within mid and later life.

With the title of Grey Gardens, such a film would appear to be the perfect connecting point for examining aging issues (grey) and gardens. But the film is less about gardening in the later years (per se) and more about of what was once cared for in relationships with people, home, and landscape in the past – has instead fallen into a state of neglect due to the disconnect with cultivating what is alive (not counting the cats and raccoons) in the present. Grey Gardens is the 1976 film by Albert and David Maysles and it is a portrait of two aging women (mother and daughter) both frozen in time and place, in an East Hampton home that is graying along with them. Grey Gardens is actually the name of the decaying estate that belongs to Edith Bouvier Beale (“Big Edie”) age 79 and her daughter Edie (or “Little Edie”) in her fifties. In the early 1970s, their 28-room mansion was found to be health hazard and both were threatened with eviction. They are relatives of Jacqueline Bouvier Kennedy Onassis and it was she who intervened on their behalf so that could both stay in the mansion after a massive clean up. Both Big and Little Edie live in the past as they travel back through the decades via photo albums, vinyl records, and scrapbooks. The film opens up with Little Edie telling the Maysles about what used to be in terms of the beautiful and exotic gardens that once was. But as the camera sweeps the landscape it is obvious all has “gone wild” with thick overgrowth, vines that threaten to cover the house, and thick trees that literally create a wall of seclusion around the home.

Throughout the film, there are shots of the house surrounded by thickets of vegetation that make it appear deserted and forlorn. And during the winter months, it carries the haunting images of a Hollywood set piece where the Grey Gardens mansion is enveloped in an ivy-snarled ruin. It brings to mind Alan Weisman’s (2007) provocative scenario of envisioning “The World Without Us” where instead of the encroaching ivy that we observe in the film, Weisman speculates on the role of kudzu (the infamous weed of the South),

…without gardeners endlessly trying to uproot the ravenous stuff, long before the vacant houses and skyscrapers of Southern cities tumble, they may have already vanished under a bright, waxy green, photosynthesizing blanket” (p. 274).


In Grey Gardens there actually is a man who is introduced as the “gardener” at the beginning of the film, but it is clear that the intruding jungle of vegetation is overwhelming to him. As the mother and daughter engage in their own private world of isolation and disconnect, the botanical world encroaches. As they live in the past, the present landscape is removed from their care and attention. While they may have their memories of some glorious yesteryear, the future is left to random seclusion. Harrison succinctly states the connection between the need for constant gardening in the face of our obligations to the here and now,

If we are not able to keep our garden, if we are not able to take care of our mortal world, heaven and salvation are vain (p. 11).

And it is with this insight do we then fully appreciate the lines from Shakespeare’s Hamlet whereby the Prince sees the troubled world all around him as “an unweeded garden, That grows to seed; Things rank and gross in nature, Possess it merely” (I, ii.135-136) (see Paglia, 2005).

Akira Kurosawa, at the age of 80, directed and then released the film, Dreams in 1990 (his 28th film), which portrayed several dreams based on Kurosawa’s own over the course of his life. It is a “visually stunning” film and consists of eight segments that are arranged in temporal/spatial progression and filled with cultural references within classical Japanese culture (Serper, 2001; Reider, 2005). The first and last episodes of Dreams feature two processions that symbolize the opening and closing of the life cycle: a wedding (usually leading to a new birth) and a funeral (Serper, 2001). The film also captures luminous sequences of botanical wonderment with fields of flowers (Sunshine Through the Rain), an orchard of peaches in full bloom (The Peach Orchard) and rural scenes of wheat fields (Crows) with Van Gogh (who also loved gardens; see Fell, 2001) at work painting his landscapes and antithetical segments that portrayed the ruins of ecological disasters and the break with nature. It is however, the last segment, “The Village of the Watermills,” that will serve as the focal point of this discussion.

The setting for The Village of the Watermills is a lush farm with blooming flowers, lush green grass, and crystal clear rivers that drive the watermills in a wheel-like fashion. It is a “paradisiacal place: a village where modern technology has not invaded people’s lives and they live in harmony with nature” (Redier, 2005; p. 265). The Kurosawa surrogate (the younger man), while walking through the village, encounters a 103-year old man, who is working on a smaller water wheel structure. The older man communicates the necessity of treating the land with respect and articulates the perils if it is mistreated. The symbolic depth of the old man imparting wisdom to the younger man is a critical link in the message of the segment which highlights that working in harmony with the land helps to create a natural cycle of living – and dying.

Thus, even the funeral of a 99-year old woman (the old man’s first love) is treated with dignity and a celebration of music, flowers, and processional dancing. The entire village is involved in the funeral: children, adults, and the elderly, male and female. The watermills turn with the river of water, which provides nourishment for the plants and the flowers, which in turn the villagers use to celebrate the wheel of life – and death. After watching this segment, there is the renewed sense of appreciation for the purpose of flowers at the gravesite and at memorial services, as we remind ourselves of the blossom that does pass, but the rhizome remains.

At the end of the segment in the film, we are left watching a slow moving river current with undulating clusters of long swirling stands of lush aquatic plants flowing, swaying with the flow of water that reflects multiple colors reflected from the surface – blues, greens, and the liquid silver of indirect sunlight. Much like an oil painting of Monet – Water Lilies – and his Japanese Bridge over his pond.

November 7, 2010

Gardens, Aging, and Modern Literature



Thomas Jefferson's Garden at Monticello


 The conjunction of gardening and literature is substantial and readers are encouraged to review Marranca’s (2003) anthology and Garmey’s edited book (1999) for an introduction and extensive review in this domain. For a more contemporary non-fiction perspective, Arthur Hellyer’s (1936) Your Garden Week by Week, Jamaica Kincaid’s (1999) My Garden (Book):, Diane Ackerman’s (2001) Cultivating Delight: A Natural History of My Garden (2001), Michael Pollan’s (2003) Second Nature: A Gardener’s Education, Barbara Kingsolver’s (2007) Animal, Vegetable, Miracle: A Year of Food Life and Robert Fenton’s (2002) critical review in the The New York Review of Books are highly recommended. Following the pattern of the classical literature section, I will examine only a few exemplars, specifically as it connects with the aging process.

Following the theme of a labor of love when it comes to the dedication to gardening, many people will think of one of the best-selling American non-fiction classics which is Walden by Henry David Thoreau.6 As a nature writer, he had the uncanny ability to “master the art of descriptive writing” (Harding, 1995) and in one chapter, Thoreau dedicates the writing directly to his bean field,

“I came to love my rows, my beans, though so many more than I wanted. They attached me to the earth, and so I got strength like Antaeus. But should I raise them? Only Haven knows. This was my curious labor all summer – to make this portion of the earth’s surface, which had yielded only cinquefoil, blackberries, johnswort, and the like before, sweet wild fruits and pleasant flowers, produce instead this pulse.”

But while Thoreau had the ability to capture the art and beauty of being connected to the soil, his stay at Walden was relatively short, a two-year experiment into his late twenties, and then he left to pursue other travels. If one wanted to find a more “constant gardener,” across the entire life course and into the retirement years, perhaps we could better start with Thomas Jefferson, Governor of Virginia, Secretary of State in Washington’s cabinet, Vice-president and President of the United States, President of the American Philosophical Society for eighteen years, and founder of the University of Virginia, who was also an avid gardener and we are fortunate to read of his observations and activities in gardening in a publication titled, The Garden Book (Betts, 1944), which he began in 1776 and continued it until the autumn of 1824, two years before his death at the age of 83. The Garden Book is a remarkable account of Jefferson’s meticulous note taking on his botanical interests and indicated a devotion to the “culture of the earth.”


Here is one account of Jefferson’s vast amount of correspondence, at the age of 68 years old, in a letter to a Charles Willson Peale written in 1811 (from Betts, 1944)

No occupation is so delightful to me as the culture of the earth, and no culture comparable to that of the garden. Such a variety of subjects, some one always comming to perfection, the failure of one thing repaired by the success of another, and instead of one harvest a continued one through the year. Under a total want of demand except for our family table, I am still devoted to the garden. But though an old man, I am but a young gardener.

Although Jefferson completed so much in his life, his return to his beloved land and gardens became his therapeutic activity, whereas for Hans Christian Andersen, the garden became an allegory for his lifework writing folk tales (“fairy tales”) which had more significance with the world of adulthood than for children. The folk tale, “The Gardener and the Gentry” was written toward the end of his career and two years before his death in 1872. Hans Christian Andersen wrote the “The Gardener and the Gentry” as story to covey his frustration at being a lifelong writer and fulfilling the role of the “genuine storyteller as a cultivator of the social good” but having to “suffer the indignities of serving upper-class patrons who did not appreciate his great accomplishments” (Zipes, 2007; p. xxix). In the story, the reader can sense the deliberate parallel between what Andersen believed was dedication to the craft of writing (the artist cultivating the words) that would make up a story and the role of the gardener who would place the same amount of care and attention to the cultivating of plants and vegetables. And yet, in both cases there is the lack of appreciation for what the working class can produce and create that is virtually taken for granted or assumed to be the result of other forces beyond the “commoner” in society.

The use of gardening as a metaphor and allegory continues in the works of noted writers such as Frances Hodgson Burnett, Charles Baudelaire and T.S. Eliot. The book The Secret Garden (1949) by Burnett, is considered a children’s classic and the garden carries the prospect of renaissance and healing powers, but what is of interest to our theme is the portrayal of the old gardener, Ben Weatherstaff, who also has a stake in the care of the garden as well. To me, this presents an interesting representation of the generational connection with the healing properties of caring for one another and that the illustration by Nora Unwin between pages 234-235 is quit remarkable with its color print scene of three children walking through a vibrant garden of flowers, trees in bloom, escorted by various wild creatures, all under the protectful watch of the old gardener. But this is one side of the coin with gardens being targeted as a place of magical renewal; there is also the other perspective whereby gardens represent the philosophical confrontation with the cycle of life and death. Although Baudelaire lived a relatively short period of time (46 years), his contributions in poetry, especially associated with Les Fleurs du mal (published in 1857), point to the existential challenges of suffering and death, and he uses gardening imagery in one poem to convey his frustrations and dreams at that point in his life’s journey (Baudelaire, 2006). There is a cultivation of flowers (of evil) representing moral dilemmas that most must face and endure with the flow of time and inevitable aging. The poem, L’Ennemi (titled and translated as The Ruined Garden by Robert Lowell; see Mathews & Mathews, 1989) where the organic elements of soil, seeds, rain, and heat add to the unfolding drama of a life at the edge of survival and ultimate destruction .

In the case of T.S. Eliot (1991), the imagery of the rose-garden in the Four Quartets carries a multi-layered meaning of spirituality and the loss of Paradise within the cycles of life and death (Wagner, 1954). The Four Quartets were written over a span of several years (1935-1942) and in the last quarter of Eliot’s life. In “Burnt Norton” the rose-garden conveys memories and mythology of time passing with human existence (mere moments) compared to the history of humanity, civilization, and all that has gone before. And in “East Coker” another set of images to convey an Eden-like time and place that knew of the cycles of life and mortality seemingly lost in the turbulent wake of a perpetual-moving modernity. The flow of time and the unfolding of generations and the march of history; and as the centuries press on, we seek to find our place and our mark.


We need sanctuary from the rolling tide of, as Harrison phrased it, “rage, death, and endless suffering.” And we find solace in various beliefs, mythologies, stories, family, and in love. But Harrison notes that we also have the counterweight of our gardens.


“Where history unleashes its destructive and annihilating forces, we must, if we are to preserve our sanity, to say nothing of our humanity, work against these forces and allow them to grow in us. We must seek out healing or redemptive forces and allow them to grow in us. That is what Voltaire means to tend our garden.”

I find it correlative that Carl Jung was using a similar theme to address his understanding of his own life in his book Memories, Dreams, Reflections (1989). In 1957, at the age of eighty-one years of age, Jung began to work with Aniela Jaffe to complete this major work before he died in 1961. The enlightening passage is from the prologue and is both vegetative and seminal in its garden metaphor by picturing life individually and collectively as sustaining and regenerative over the ages (see also Sabini, 2002).

“Life has always seemed to me like plant that lives on its rhizome. Its true life is invisible, hidden in the rhizome. The part that appears above ground lasts only a single summer. Then it withers away-an ephemeral apparition. When we think of the unending growth and decay of life and civilizations, we cannot escape the impression of absolute nullity. Yet I have never lost a sense of something that lives and endures underneath the eternal flux. What we see is the blossom, which passes. The rhizome remains.”

End of Part I.

November 6, 2010

Gardens, Aging, and Classical Literature


The portrayal of gardens as real sanctuary, as metaphor and as imagery to provide exotic backgrounds has been a part of the heritage of literature throughout history (see Miller, 1982). For example, as Shorto (2008) has pointed out in his fascinating book, Descartes’ Bones, there is the “engraved image of a bearded man, dressed in tunic and tights, digging in a garden – the seeker after philosophical truth in the guise of a humble laborer?” (p. 14) on the first edition front cover of Descartes’s (1637) famous treatise, Discourse on the Method of Rightly Conducting the Reason, and Searching for Truth in the Sciences. Here we have the garden as a metaphor for cultivating the kind of food for that would provide sustenance to in the philosophical domain. However, for the purposes of this article I will present only a few exemplars to highlight the nexus.

In order to set the stage in this section, Marx (1985) has suggested an intriguing proposition that the bucolic setting, the pastoral world, and the role of gardener to be found in classical literature and poetry has been very much highly symbolic and associated with the later stages of life. That is, to garden is typically gerontological because the pastoral world was deemed to be separate from the “life of action” (vita activa) that was associated with young adulthood and middle stages of life which focused on the maintenance of life out in the world. In contrast, Marx (1985) claims that in old age there is a (necessary) retreat to the pastoral and a resulting renaissance in the mind and body by returning to the “natural world.” What is provocative about Marx’s analysis is how there appears to be the subtle hint of the traditional “disengagement theory” at work here, but what is emphasized more strongly is that the role of the “old shepherd” is to serve as a reservoir of wisdom separate and away from away from the corruptions and tribulations of the court and the city. Marx (2005) believes that the portrayal of old age in the pastoral domain was the needed to balance against the excesses of pleasure and play of “youthful Epicurism” (e.g., folly) so that the sense of responsibility and care was instilled in the chain of generations as a desired virtue in order to deal with the hardships and challenges of life, which inevitably would appear across the life course.

And so, we could perhaps begin with The Metamorphoses of Ovid or Hesiod’s Words and Days or Cicero’s On Old Age (Cato Maior de Senectute) to examine the nexus, but the I will propose that the proper starting point should be with Virgil’s Georgics.

Virgil (70BCE -19 BCE) wrote the poem Georgics (the word Georgics refers to primarily to “farming”) during the 30s BCE and most likely finished it in 29, just as the civil war between Octavian and Antony had finally come to an end. This would put Virgil at just over 40 years of age, and relatively speaking, at the peak of his senior status in the understanding of the life course at that time but perhaps not senectus yet (see Parkin, 2003). From one perspective, Georgics can be thought of as the middle grand publication of Virgil sandwiched in between Bucolics (or Eclogues) and what some consider his magnum opus, the Aeneid.

As Lembke (2005) has noted, “The poem {Georgics} is indeed a love song to almost everything that grows or gazes on the land.” Ferry (2005) proposed that Georgics “is one of the great songs, maybe the greatest we have of human accomplishment in the difficult circumstances of the way things are” (p. xiv). Georgics is Virgil’s call for a return to the land – to begin again – to reconnect to what made, from Virgil’s perspective, the Roman culture steadfast, prosperous, and virtuous. The poem is also didactic and very much a template and design for interacting with the land and being attentive to what Ferry (2005) noted as Virgil’s ability to engage the “ecstatic and tender celebrations of the very life in things,” and more importantly how these “celebrations” interact with human existence (see also Haarhoff, 1958). In the Georgics, one can appreciate Virgil’s attentiveness to the cycles of seasons, and to the changes in weather, and to the rhythms of the seasons and the cycle of birth and death, and the inevitable unfolding of sickness and aging. But of paramount importance, is that Virgil believes that humans are summoned to labor, and to engage with the land, so that a resulting broader cultural odyssey may flourish based on the core elements of farming. Through care of the land, we begin to care for each other, and from there follow the arts and cultural blossoming and the resulting the harvesting of another kind: poetry, art, music, sculptures, law, and ethics. The care of the land is essential and Lembke (2005) noted,

A message inhabits the instructions: only at our gravest peril do we fail to husband the resources on which out lived depend. That council is as valid for today and tomorrow as it was for long-gone yesterdays (p. xiii).

Of direct relevance to the theme in this paper, is the sub-story within the fourth Georgic which captures the exquisite writing of Virgil and message of reward that comes from care and cultivation based on an ethic of both labor and love. Here we meet an old man from Corycian who is at work on his small patch of land that was at one time not fertile enough to be plowed by oxen, but with his dedicated attention it has been transformed,

But this old man
Carefully planted white lilies, vervain, and poppies,
And different sorts of vegetables for his table,
And thus he made for himself a happiness
That was equal to the happiness of kings,
And when he came home at night his feast was free. 



The lines in this vignette, which appears in the middle of the Georgic primarily profiling beekeeping, is less didactic and more poetic in the sheer strength of the action and sensuality by use of vivid descriptions of the labor that is needed for all the seasons (see de Bruyn, 2004). It is believed that the old man was one of the re-settled pirates who was conquered by Pompey the Great in decades past, and Quint, (2006) has proposed in his review of the new translations of Georgics by Ferry (2005) and Lembke (2005) that,


“…the old gardener thus carries some of the poem’s political hopes as well as its ethical message. From a life of turmoil, he has settled into quiet usefulness and contentment, tamed by work and hardship, and even makes a thing of beauty in his flower garden, an analogue to the poem itself .” (p. 35).


An overarching theme throughout the Georgics is the didactic lesson of “as you sow, so shall you reap.” 5 It is a very much a parallel to the notion of karmic behavior that understands progress towards happiness and well-being is highly dependent on the service that you have rendered onto the land and to kith and kin, to neighbors and to community. And it all begins in your backyard. And this will examined in greater detail in the second node of this paper as I review Voltaire’s philosophy via Candide such that with all of the civil wars and political strife that swirled about and over the years, there can be a return to where it all begins: with the soil, the plants, and the animals. This serves as the cornerstone of civilization – that is, to care. To garden is to cultivate is to care and though it takes effort, labor, and sweat – the rewards and dividends are accrued by all. And so gardening is both vita activa and vita contempliva. Work and reflection. To reap and to sow. To attend to and to care – constantly. Harrison (2008) succinctly weaves these themes together,

“A human created garden comes into being in and through time. It is planned by the gardener in advance, then it is seeded or cultivated accordingly, and in due time it yields its fruits or intended gratifications. Meanwhile the gardener is beset by new cares day in and day out. For like a story, a garden has its own developing plot, as it were, whose intrigues keep the caretaker under more or less constant pressure. The true gardener is always ‘the constant gardener’” (p. 7)


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November 5, 2010

Caring to Cultivate on the Long Row of Life : An Eclectic Look at Gardens, Gardening and the Aging Process


The Garden of Earthly Delights
by Hieronymus Bosch , circa 1503-04

Dr. Scott Wright, Director and Associate Professor at the University of Utah has generously agreed that I can share his outstanding article, " Caring to Cultivate on the Long Row of Life, An Eclectic Look at Gardens, Gardening and the Aging Process " with fellow gardeners and bloggers.  There are 3 parts to the article and I am breaking it up into sections.  To learn more about the author visit him at his blog The Rogue Scholarship on Aging.

Gardening is one of the most popular home-based leisure activities in the U.S. and represents a significant and salient activity in the lives of older adults (Ashton-Shaeffer & Constant, 2005; Bhatti, 2006). Francese (2002) noted in his article, with the provocative title of “Horticulture is hot,” that the National Gardening Association claimed that 80% of US households tended to plants, which represented an increase of 65% from the year 1996. Francese (2002) also reported that the 55 to 64 year old age group was the cohort that spent the most on horticultural products and services and that the aging baby-boomers would continue to expand the spending and interest in gardening activities into the near future.

But why? Is there a connection between a greater interest in gardening and along with increasing aging? Is there some sort of human developmental imperative at work here? Or is this a cohort specific phenomenon? Or perhaps the functional allure of gardens and gardening in the later years is the result of multiple factors: historical, aesthetic, generational, psychological, and physiological? It appears that the jury is still out in relation to the scientific answers to these questions. Furthermore, there is little empirical evidence to point to any direct measurable relationship to a natural affinity between aging and gardening as a desired activity and preferred use of time in later life. In addition, we have to acknowledge that a good number of people in our hypertechnical world may find the notion of gardening as antiquated as the telegraph or little more than a self-sufficiency habit held over from the Great Depression era. It may even bring to mind the stereotypic and passive activities of “the golden years” associated with shuffleboard or a slow game of checkers in the city park. Or in other words, about as interesting and engaging a topic on aging as watching paint dry, and certainly not a topic to compete with the latest research on telomere degradation or a policy report centered on the Medicare Advantage Prescription Drug Plan.

And yet, there is much more to the nexus of gardening and aging than what one might assume. In fact, the roots go deep and there are fruitful outcomes upon closer examination of the intersect between the two.

Gardening as an activity to improve the quality of life for older adults has generated a substantial number of publications that address the role of indoor gardening and horticultural therapy within institutional populations (Brown, Allen, Dwozan, Mercer & Warren, 2004; Collins & O’Callaghan, 2007; Grant & Wineman, 2007; Kreidler, 2002; Reid, 2006; Wells, 1997 1) which is also reflected in the paradigmatic shift of “The Eden Alternative” 2 in managing long-term care facilities (Thomas & Johansson, 2003; Weinstein, 1998). There are also significant publications on outdoor gardening activities for people who live in geriatric care settings (Ottosson & Grahn, 2005) and specifically for persons with dementia (Rodiek & Schwarz, 2008). We also know that gardening can serve as a “bridge-building” activity for enhancing intergenerational cooperation in community settings (Goff, 2004; McKee, 1995; Larson & Hockenberry, 2006; Predny & Relf, 2004), and that it can represent a form of legacy in older adults (Moller, 2005), and serve as a mechanism to engage in “successful aging” (Oh, 2005).

There are research findings to indicate gardening as an activity to enhance the physical and emotional well-being for older adults who reside in home and community-based dwellings. For example, Infantino (2001) found that the gardening experience had sustained older women in their cognitive and spiritual development. Heliker, Chadwick, and O’Connell (2000) found that horticultural projects (consisting of 12 weeks of interactive gardening classes) were instrumental in increasing a sense of psychological well-being in racial and culturally diverse groups. They also found that gardening helped to instill of deeper sense of legacy and spirituality and a deeper relationship with the earth and nature in the older participants. Similarly, Miiligan, Gatrell, and Bingley (2004) found that older adults benefited from gardening in communal garden allotments as it helped to overcome social isolation and contributed to the development of social networks. Although lawn care has been the most prevalent form of gardening nationwide, this dimension has been going through its own transformation and redefinition as many more people are looking to redefine the “lawn” into a more environmental friendly 3 and regionally appropriate recreational and social site for families, including the expansion of gardens (Grampp, 2008). Brown & Jameton (2000) have indicated that there are numerous benefits for the increase and support of gardening: food security and nutritional health (home grown produce has the potential to offset the cost of purchasing food; positive effects on physical health (as exercise), and overall community improvement (to enhance social capital; it can serve as a community organizing tool to combat poverty and provide a collective response to blighted city neighborhoods) and as a way of raising consciousness about environmental stewardship.

Brown and Jameton (2000) also suggest various community-based policy recommendations to encourage urban garden activities because, “Urban gardening raises our public awareness of the need to safeguard our environment, and especially our urban soils, from future pollution, erosion, and neglect” (p. 33) {see also Guerilla Gardening - http://www.newsociety.com/bookid/3945}

More specifically to older adults, Ashton and Schaeffer (2005) discovered many motivational factors for gardening in their investigation. For example, they found significant differences among older adults by marital status, education and health status in terms of motivational categories. The two most important categories were: physical fitness and creativity.

Perhaps it is best to summarize the findings of the importance of gardening in the lives of older adults by highlighting the work of Bhatti (2006) who found that the presence of and the interaction with gardens can have a major significance in the (re)creation of “home” in later life. In addition to the benefits of physical activity, there is the added dimension of what the garden symbolizes psychologically as a meaningful reason for existence, or as one older adult expressed it, “when I’m in the garden I can create my own paradise.”

Ah yes, paradise. But not quite like the ones we associate with Dante’s work, or mythology, or in the biblical accounts in Genesis. As Harrison astutely points out,

“A garden that comes into being through one’s own labor and tending efforts is very different from the fantastical gardens where things preexist spontaneously, offering themselves gratuitously for enjoyment…For unlike early paradises, human-made gardens that are brought into and maintained in being by cultivation retain a signature of the human agency to which they owe their existence.” (pp. 6-7)

In the remainder of this paper, I will examine two domains of the nexus between gardening and the aging process. One domain will be to discover and highlight the many interesting nodes of intersection among the arts and humanities in relation to the themes of gardens, aging artists, writers and filmmakers. The second domain will address two issues: a) gardening as a mechanism to engage the cultivation of care in the social milieu of the aging individual, and b) as a way to enhance the notion of stewardship in supporting environmental health in the context of home and community based dwellings. But before we examine the interplay of those issues in greater detail, I will briefly review the history and purpose of gardens, and then examine the role of gardening and the aging process by highlighting the cross-fertilization of these issues in the arts and humanities.

How Does Your Garden Grow? Definitions, History, and Purposes

For many people, the word “garden” can evoke varied emotions and leaps of cognitive associations. It can also signify many things that have little to do with cultivating vegetables and flowers. Some may immediately think of an entertainment/ sports venue (e.g., Madison Square Garden); a biblical setting (e.g., The Garden of Eden) or some historical wonder of the world (e.g., The Hanging Gardens of Babylon); or pieces of literature such as The Garden of Forking Paths by Jorge Luis Borges or Midnight in the Garden of Good and Evil by John Berendt or The Garden of Last Days by Andre Dubus III; or the film The Constant Gardener directed by Fernando Meirelles (based on the novel by John le Carre); or exotic paintings like The Garden of Earthly Delights by Hieronymus Bosch or The Enchanted Garden by J.W. Waterhouse (see Albers, 1991) or exotic settings such as found in Hypnerotomachia Poliphili (Colonna, 1999).

For others, there may be an immediate leap to the Butchart Gardens in Greater Victoria on Vancouver Island, Canada or the Hawaii Tropical Botanical Garden or Zen rock garden of the Ryoanji Temple in Kyoto, Japan (see Harte, 1999). Some may think of the Garden State (New Jersey) or if that is too far north then others may prefer Winter Garden, Florida. In the academic domain, gardens have served as a sociological focal point for assessing collectivist and bureaucratic cultures in conflict in the context of the “urban gardening movement” (Jamison, 1985). In the historical domain, there were the “Victory Gardens” in the 1940’s and with contemporary television, perhaps the PBS series, “The Victory Garden.” But for many people, a garden can simply be a plot of soil as close as your backyard and as modest as raised box with a few marigolds and tomato plants. As Ross (1998; 1999) has noted, trying to pinpoint an exact definition (in the Wittgensteinian sense) of gardens is daunting,

"Consider a French formal garden, an English landscape garden, an Islamic water garden, a Japanese Zen garden, a backyard vegetable plot, suburban perennial bed. Gardens can be large or small, enclosed or unbounded, natural or geometric, dense or sparse, rolling or flat. They can contain tress and flowers, streams and fountains, mounds and grottoes, walls and ha-has, paths and trenches, temples and follies. Given this range it doesn’t seems promising to define “garden” in terms of content or features.” (p. 5)

Nevertheless, for the purposes of this paper, one can be advanced for conceptual purposes. According to Pizzoni (1999), gardens can be thought of as a place set aside for multiple uses such associated with horticulture and the cultivation of plans for food and medicinal herbs but it can also be seen as an expression of ornamental, religious and even political purposes. Gardens can even be considered an art form and “representative of civilizations and their cultures, and in particular of every age’s experience and depiction of nature” (p. 9). Although Pizzoli (1999) primarily examines gardens in the West from about the fourteenth century to the present day, Turner (2005) has explored the philosophy and design of gardens from 2000 BC to 2000AD and reviewed the uses of gardens in Egyptian, Greek and Roman culture, West Asian and Islamic cultures, through the Medieval and Renaissance periods, Baroque, Neoclassical and Romantic, and into the more modern era of abstract and post-abstract designs (see also Adams, 1991; Comito, 1978).

Conan and Whangheng (2008) have focused their masterpiece book on the role of gardens in city life and have examined the role of gardens in developing social and cultural life and facilitating economic well-being in various cities from an international perspective. In their edited book, several authors have pointed out that gardens have served both for pleasure and politics over the centuries and have served as repositories of cultural memories. One of the more fascinating chapters in the book presented information on the ecological and socioeconomic dimensions of homegardens in Kerala, India. And if the reader wanted to take a visual tour of over 500 gardens across the planet, there is the exquisite publication by Phaidon Press (2000), simply called The Garden Book, which provides a comprehensive and illustrated survey arranged in A-Z order complete with accompanying commentary “to place both garden and maker in their stylistic and historical context” (see also Taylor, 2006). If one wanted to review the intimate history of the social-psychological and utilitarian transformation of “home grounds” for middle-class families, the publication by Grampp (2008) is indispensable (see also Constantine, 1981). And finally in another edited book by Punch (1992), there is the presentation of an extensive profile of gardening as it has been involved in the general cultural life of the United States from its very beginnings with the first European settlers in Virginia and Massachusetts (approximately 1584 and onward).

The last chapter by Michael Pollan (1992) (“The Garden’s Prospects in America”) 4 is illuminating in its analysis of the development of gardens in America. Pollan (1992) argued that although both the front lawn and the wilderness park are brilliant in their own regard, they actually “represent the antitheses of gardens, and their hold on our imaginations and yards has done much to retard the development of the American garden” (p. 261). In fact, Pollan suggests that our motives for gardens have usually been more utilitarian than aesthetic or sensual, and he provocatively takes on the transcendentalists (as Thoreau struggled with the activity of gardening in relation to the “moral” dilemma of altering the natural landscape) as harboring a negative view of the function of gardens. While Pollan believes that defending wilderness and the right to have a front lawn are essentially a part of our cultural pedigree, he also believes that the America is shifting toward the middle landscape of the garden, which makes both environmental and economic sense. Pollan wrote,

“Gardening tutors us in nature’s ways, fostering an ethic of give and take with respect to the land. Gardens instruct us in the particularities of place. Gardens also teach the necessary if still rather un-American lesson that nature and culture can be compromised, that we might be able to find some middle ground between the wilderness and the lawn…we need the garden – and the garden’s ethic – too much today for it not to flourish.” (p. 265)

Next :  Gardening, Aging and Classical Literature.

November 4, 2010

Mums It Is

I have an intense dislike of roundy moundy mums plopped in the garden for Fall color so I'm always on the look out for interesting varieties that are hardy for our zone 5 and 6 gardens here in Chicago.

Here are two"spoontipped "  that are definitely on my list to order in my favorite colors of red and yellow :







Faribault Growers, Inc., who grow the hardy novelty mums in Minnesota, are wholesalers that have given in to the demand for mums and allow us gardeners to buy retail.  Visit them at :  http://faribaultgrowersinc.com/novelties.php .

November 1, 2010

GARDEN BLOGGERS' MUSE DAY




"If it is true that one of the greatest pleasures of gardening lies in looking forward, then the planning of next year's beds and borders must be one of the most agreeable occupations in the gardener's calendar. This should make October and November particularly pleasant months, for then we may begin to clear our borders, to cut down those sodden and untidy stalks, to dig up and increase our plants, and to move them to other positions where they will show up to greater effect. People who are not gardeners always say that the bare beds of winter are uninteresting; gardeners know better, and take even a certain pleasure in the neatness of the newly dug, bare, brown earth."



- Vita Sackville-West

November is not an idle month in the garden - cutting down the "sodden and untidy stalks ",  dividing and transplanting overgrown perennials, mulching, weeding , planting bulbs , moving plants indoors and of course, the best part as Vita said is planning next years beds and borders.
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