falls apart in the perfume

THE LEMON TREES

Hear me a moment. Laureate poets
seem to wander among plants
no one knows: boxwood, acanthus,
where nothing is alive to touch.

I prefer small streets that falter
into grassy ditches where a boy,
searching in the sinking puddles,
might capture a struggling eel.

The little path that winds down
along the slope plunges
through cane-tufts
and opens suddenly
into the orchard
among the moss-green trunks
of the lemon trees.

Perhaps it is better
if the jubilee of small birds
dies down, swallowed in the sky,
yet more real to one who listens,
the murmur of tender leaves
in a breathless, unmoving air.

The senses are graced with an odor
filled with the earth.
It is like rain in a troubled breast,
sweet as an air that arrives
too suddenly and vanishes.

A miracle is hushed; all passions
are swept aside. Even the poor
know that richness,
the fragrance of the lemon trees.

You realize that in silences
things yield and almost betray
their ultimate secrets.

At times, one half expects
to discover an error in Nature,
the still point of reality,
the missing link
that will not hold,
the thread we cannot untangle
in order to get at the truth.

You look around. Your mind seeks,
makes harmonies, falls apart
in the perfume, expands
when the day wearies away.
There are silences in which one watches
in every fading human shadow
something divine let go.

The illusion wanes,
and in time we return
to our noisy cities where the blue
appears only in fragments
high up
among the towering shapes.
Then rain leaching the earth.
Tedious,
winter burdens the roofs,
and light is a miser, the soul bitter.

Yet, one day
through an open gate,
among the green luxuriance
of a yard,
the yellow lemons fire
and the heart melts,
and golden songs pour
into the breast
from the raised cornets of the sun.

Eugenio Montale

translated by Lee Gerlach

Copyright © 2002, 2004 Harry Thomas, Handsel Books (an imprint of Other Press LLC).

meow • (halloween suite)

THE GARDEN BY MOONLIGHT

A black cat among roses,
Phlox, lilac-misted under a first-quarter moon,
The sweet smells of heliotrope
and night-scented stock.

The garden is very still,
It is dazed with moonlight,
Contented with perfume,
Dreaming the opium dreams of its folded poppies.

Firefly lights open and vanish
High as the tip buds
of the golden glow
Low as the sweet alyssum
flowers at my feet.
Moon-shimmer on
leaves and trellises,
Moon-spikes shafting
through the snow ball bush.

Only the little faces of the ladies’ delight are alert and staring,
Only the cat, padding between the roses,
Shakes a branch and breaks
the chequered pattern
As water is broken by the falling of a leaf.

Then you come,
And you are quiet like the garden,
And white
like the alyssum flowers,
And beautiful as the silent sparks of the fireflies.

Ah, Beloved, do you see those orange lilies?
They knew my mother,
But who belonging to me will they know
When I am gone.

Amy Lowell

Somei: Landscape Gardening in Edo

Two main highways leading north from Edo -- the Naka- sendo and the Nikko Kaido -- divide just as they leave the busy residential suburbs where most of Edo's wealthiest families have their manors. The countryside beyond is dotted with hundreds of small farms and occa- sional clusters of homes. As you make your way along the Naka- sendo and into the countryside, the spring landscape unfolds in beautiful colors. There are flowering trees and bushes everywhere you look. The delicate pink blossoms of cherry trees dot the roadside, and many of the hills are covered with a multicolored blanket of shrubbery -- especially azaleas and rhododendrons.

This is the Somei area -- a general name given to a cluster of small towns and villages that specialize in growing orna- mental plants and trees to plant in the gardens of all the wealthy daimyo in Edo. The two main towns in this area are Koma- gome and Sugamo, but most people in Edo know the area as "Somei" and the farmers who live in the region are known as the Somei uekiya (the landscape gardeners of Somei). They get their reputation from their great skill in raising thousands of different types of ornamental plants.

The farms in the Somei area produce most of the ornamental plants that the daimyo plant in their gardens, and many flower markets are held in the small towns along the Naka- sendo, where common people can also buy flowers, trees and shrubs. In fact, even the beautiful gardens inside Edo Castle are landscaped and tended by gardeners from Somei.

Gardening is one of the most common and most universal hobbies in Edo. Although the daimyo spend lots of money to build large and extensive gardens, even the poorest city dweller can raise flowers and small shrubs along the roadside or on their balcony, because all it takes is a pot, some dirt and a few seeds or cuttings. Since poor city dwellers have only a limited amount of land for growing plants, one popular hobby of lower-class people is bonsai . A bonsai tree is planted in a small pot and carefully trimmed to keep it from growing too big. If the grower does a good job of tending the tree, in ten years or so he will have a miniature bonsai tree, that looks exactly like a full-sized tree, but is only about a foot tall! Although Edo is a very crowded city, it is quite beautiful. In even the most crowded downtown neighborhoods, you can always see beautiful and well-tended flowers, shrubs and bonsai trees in almost everyone's front yard or doorstep. However, nothing can quite compare to the sight of Somei, with its endless acres of bushes, flowers and trees of every type imaginable.

Somei is the home of one of the most famous gardeners in Edo: Ihei Masatake. Masatake is the son of perhaps the greatest landscape gardener ever -- Ihei Sannojo, and many believe that Masatake is as good at actual gardening as his famous father. The Ihei family first got into the landscaping business back in the early days after Edo was founded. Masatake's grandfather was a simple farmer in the northern suburbs of Edo. Back then, most of the farms in the area grew only rice and vegetables for sale in the city, though a lot of farmers supplemented their income by working part time as gardeners and handymen at the estates of daimyo who lived nearby.

Ihei Masatake's grandfather was named Hotsukimaru. Since he was just a poor farmer, he did not have a last name. In Edo, most of the low-class people do not have a surname, because surnames are a sign of respect, and only fairly important people are allowed to have one. Hotsukimaru got a job working as a gardener and handyman at the estate of the Todo family, who were the rulers of Tsu province, in southern Japan. When Hotsukimaru was still a young man one member of the family, Todo Ihei, brought back some azalea bushes from his home in Tsu province and asked Hotsukimaru to plant them in the garden. The azaleas from southern Japan were more colorful than any Hotsukimaru had ever seen before, so he took cuttings home to his farm and carefully raised the bushes around his house. He soon discovered that if he carefully bred different plants together, the colors of the flowers were slightly different. After carefully tending the azaleas for about ten years, he had bred some beautiful varieties of different azalea, including purple, red, and even white varieties. After several years, when the new bushes had grown big enough, he brought these new varieties back to the Todo family estate and planted some in the gardens. When he saw them, Todo Ihei was amazed! He thought the bushes were so beautiful that he immediately appointed Hotsukimaru the head of all gardeners on the estate, and urged him to continue working to try to develop new varieties.

To show how pleased he was with the new types of azaleas, Todo Ihei asked the Shogun to let Hotsukimaru use a family name. When the Shogun saw the beautiful flowers, he agreed, as long as Hotsukimaru promised to grow some azaleas to plant in the gardens at Edo Castle. Hotsukimaru felt deep gratitude for his master. Once he got a last name, he would no longer be just a poor farmer -- he would be somebody important. To show his gratitude, he asked if he could take the name Ihei as his family name (so he would be named after his master). Todo Ihei agreed, and from that day on, everyone in the area knew of the gardener Ihei Hotsukimaru. Ihei Hotsukimaru's son, Sannojo grew up on the Todo estate, and worked with his father in the gardens. More and more daimyo in the area started planting large and elaborate gardens ,so they could show off to their neighbors. As the demand for gardeners increased, Hotsukimaru and Sannojo set up a family landscaping business. Although many other farmers in the area also began doing landscape work at the daimyos' estates, the Ihei family was the most famous. All the daimyo wanted to have their landscaping done by the Ihei ueki-ya (the Ihei landcaping company).

Sannojo learned all about azaleas from his father, but he could see that there was a strong demand for all sorts of flowering trees and bushes. He started to study every type of flowering tree and bush he could find, and planted many different varieties on his farm in Komagome. By the time Sannojo was thirty, he had developed several new varieties of ume (plum trees) and sakura (cherry trees). Since the new types were more colorful and had more flowers, all the daimyo wanted to buy them for their gardens, so they could show off to their friends. Sannojo became very wealthy selling the new types of cherry trees, plum trees, azaleas and other flowering bushes. When they saw how succesful the Ihei family had become, most of the other farmers in the area stopped growing rice and began raising ornamental plants instead.

By the time Masatake was born, Somei was the center of a huge landscaping business. From the time he was a little boy, every hour of the day he spent doing landscape work for rich daimyos, or trying to breed new varieties of flowers. The demand for trees and shrubs to plant in the elaborate gardens of Edo provides work for hundreds of farmers, and the convenient location of the Somei area -- on the main road leading into the suburbs where all the daimyo live -- makes it the "flower and garden center" of the entire country.

Naturally, every daimyo wants to have the most unique plants in their garden, so they can show off to the other daimyo . Therefore, the Somei uekiya (landscape gardeners of Somei) search far and wide for new varieties of plants. Not only do they try to breed new varieties of popular flowers; they also search in the forests for new species that might make good ornamental plants. They even import seeds and cuttings from countries far, far away. In 1695, Ihei Sannojo published a best-selling book on gardening that gave information on over 2000 different types of plants, including varieties from as far away as Africa and South America. 1


this all (well... the words part) from an extraordinary time-travel website where, in the blink of an eye, you are transported to edo in 1790, and it really feels like you're there. fascinating, well-written, well-researched.

EDO JAPAN: A Virtual Tour

teaching it, part 1

we have looked at some of the books for teaching art during the japonisme era, here, and here, for example. i want to go further into those books, and explore several others.

perhaps seeing this lovely little floral line- drawing, you think 'japonisme!' or at least 'art nouveau!' well, in 1910 the new york board of education did neither.

here's what they said, never examining any of the implications: "the ornamental value of using a natural form for decorative purposes is dependent upon the rejection of small details, refinement of forms, clear edges and flattened values and color."

this is precisely the description western artists and critics relied upon to describe japonisme, and to incorporate the principles into their work.

i could find very little encour-agement or inspiration in this entire (short) book; it recommended rote and caution at every turn.

"the vital factor of order and system, dependent upon mathematics, is so important that it would be well if every designer, young or old, could be made to respect it. the finest creations in the history of decoration have obeyed the laws of geometry however shrouded such laws may have been. only in art's decline do we find the designer throwing away in his conceit the very factor that would be his work's salvation."

yes, it is possible, in japanese floral patterns to find the evenly repeated design, but more frequently we find asymmetry. can this, though, be called geometric? maybe so.

"a word of caution, however, may not be amiss. there is a fascination in watching the development of a surface design by the simple repe- tition of a unit which causes in many schools far too much time to be spent upon it.... the feeble teacher is tempted to produce a quan- tity of such designs whose results are showy but of little practical value."

and though they might have been their best teachers, students were cautioned, "pen and ink draw- ing is to be but cautiously resorted to for elementary work. it copies from pen and ink drawings of popular illustrators have almost no educational value."

their hearts were in the right place, going about, in the only way they knew, the job of teaching how to imbue the line with grace and beauty. 'design and representation,' found at the internet archive, leaves it to you to decide.

the two gorgeous iris prints are from a japanese seed catalogue from the 1880s; i have put a DR in front of all the images from the textbook; the textiles image is taken from a chôbunsai eishi print. the rest are names in their labels. i just don't think i would have liked that class.

and yes, still

BOTH SIDES, NOW

Rows and flows of angel hair
And ice cream castles in the air
And feather canyons everywhere
I've looked at clouds that way



But now they only block the sun
They rain and snow on everyone
So many things I would have done
But clouds got in my way



I've looked at clouds from both sides now
From up and down, and still somehow
It's cloud illusions I recall
I really don't know clouds at all

Moons and Junes and Ferris wheels
The dizzy dancing way you feel
As ev'ry fairy tale comes real
I've looked at love that way

But now it's just another show
You leave 'em laughing
when you go
And if you care,
don't let them know
Don't give yourself away

I've looked at love from both sides now
From give and take, and still somehow
It's love's illusions I recall
I really don't know love at all

Tears and fears and feel- ing proud
To say "I love you" right out loud
Dreams and schemes and circus crowds
I've looked at life that way

But now old friends are acting strange
They shake their heads,
they say I've changed
Well something's lost,
but something's gained
In living every day





I've looked at life
from both sides now
From win and lose and
still somehow
It's life's illusions I recall
I really don't know life at all
I've looked at life from both sides now
From up and down, and still somehow
It's life's illusions I recall
I really don't know life at all

Joni Mitchell

Copyright © 1969; Siquomb Publishing Company

mum's the word

they don't know who made this print, so they don't know when. the japanese chrysanthemum.

this one they do know, it's from the late 1800s, and it's by bairei kono, creator of lovely, simple images of fruits, vegetables, flowers, puppies, and other familiars of everyday life, seen unadorned, and beautifully.

in 1893, keika hasegawa put out his '100 chrysanthemums.' i can find no reference to anything else he ever did, nor anything about him. but i like his mums.

it was 1904 when seguy put out his art nouveau flower pouchoirs, and lithographs. japonisme in full... uh... bloom.

jo worked in the 1920s and 30s in japan, though it has been suggested that he may not be japanese. but don't you love that little grasshopper.

shodo kawarazaki's two prints come out of the 1950s, a tradition worth keeping, kept.

and this is from 1995, and not from japan at all, but much of this artist's work shows a clear understanding of the sensibility.

many thanks to cerf à paillettes for turning me on to robert kushner.







when japan did what it inadvertently did to teach us seeing, it left a lasting impression.