Maple Leaves Quotes

But the first time I saw you. Rio. I took that down to the gardens. I pressed it into the leaves of a silver maple and recited it to the Waterloo Vase. It didn’t fit in any rooms.

The year is a book, isn’t it, Marilla? Spring’s pages are written in Mayflowers and violets, summer’s in roses, autumn’s in red maple leaves, and winter in holly and evergreen.

October's Party October gave a party; The leaves by hundreds came - The Chestnuts, Oaks, and Maples, And leaves of every name. The Sunshine spread a carpet, And everything was grand, Miss Weather led the dancing, Professor Wind the band.

The dust was antique spice, burnt maple leaves, a prickling blue that teemed and sifted to earth. Swarming its own shadows, the dust filtered over the tents.

I’m watching you go in so you don’t have to watch me leave.

Every morning the maple leaves. Every morning another chapter where the hero shifts from one foot to the other. Every morning the same big and little words all spelling out desire, all spelling out You will be alone always and then you will die. So maybe I wanted to give you something more than a catalog of non-definitive acts, something other than the desperation. Dear So-and-So, I’m sorry I couldn’t come to your party. Dear So-and-So, I’m sorry I came to your party and seduced you and left you bruised and ruined, you poor sad thing. You want a better story. Who wouldn’t? A forest, then. Beautiful trees. And a lady singing. Love on the water, love underwater, love, love and so on. What a sweet lady. Sing lady, sing! Of course, she wakes the dragon. Love always wakes the dragon and suddenly flames everywhere. I can tell already you think I’m the dragon, that would be so like me, but I’m not. I’m not the dragon. I’m not the princess either. Who am I? I’m just a writer. I write things down. I walk through your dreams and invent the future. Sure, I sink the boat of love, but that comes later. And yes, I swallow glass, but that comes later. Let me do it right for once, for the record, let me make a thing of cream and stars that becomes, you know the story, simply heaven. Inside your head you hear a phone ringing and when you open your eyes only a clearing with deer in it. Hello deer. Inside your head the sound of glass, a car crash sound as the trucks roll over and explode in slow motion. Hello darling, sorry about that. Sorry about the bony elbows, sorry we lived here, sorry about the scene at the bottom of the stairwell and how I ruined everything by saying it out loud. Especially that, but I should have known. Inside your head you hear a phone ringing, and when you open your eyes you’re washing up in a stranger’s bathroom, standing by the window in a yellow towel, only twenty minutes away from the dirtiest thing you know. All the rooms of the castle except this one, says someone, and suddenly darkness, suddenly only darkness. In the living room, in the broken yard, in the back of the car as the lights go by. In the airport bathroom’s gurgle and flush, bathed in a pharmacy of unnatural light, my hands looking weird, my face weird, my feet too far away. I arrived in the city and you met me at the station, smiling in a way that made me frightened. Down the alley, around the arcade, up the stairs of the building to the little room with the broken faucets, your drawings, all your things, I looked out the window and said This doesn’t look that much different from home, because it didn’t, but then I noticed the black sky and all those lights. We were inside the train car when I started to cry. You were crying too, smiling and crying in a way that made me even more hysterical. You said I could have anything I wanted, but I just couldn’t say it out loud. Actually, you said Love, for you, is larger than the usual romantic love. It’s like a religion. It’s terrifying. No one will ever want to sleep with you. Okay, if you’re so great, you do it— here’s the pencil, make it work … If the window is on your right, you are in your own bed. If the window is over your heart, and it is painted shut, then we are breathing river water. Dear Forgiveness, you know that recently we have had our difficulties and there are many things I want to ask you. I tried that one time, high school, second lunch, and then again, years later, in the chlorinated pool. I am still talking to you about help. I still do not have these luxuries. I have told you where I’m coming from, so put it together. I want more applesauce. I want more seats reserved for heroes. Dear Forgiveness, I saved a plate for you. Quit milling around the yard and come inside.

My first semester I had only nine students. Hoping they might view me as professional and well prepared, I arrived bearing name tags fashioned in the shape of maple leaves.

The maple leaves grow restless.

Tell me again about the girl whose hands have no color. Whose hands are completely white. This time make them damned, or untouched, or have her open a red umbrella or point at some maple leaves and damned near cry. Those hands. As freakish goes, I wish I had a tail. Maybe then you’d know how much I like you. It shakes me through, damn through. It shakes me. When she carries a peacock feather. When she touches her neck or thighs. You’re a person. It’s not so bad. You have hands. You are a person with hands to hold things. Things you like. Tremendous things. Tell me what you will hold today. I know there is room for everything. There is no need to be ceremonious. Tell what gets let go.

Here in our mountains, the snow falls even on the maple leaves.

Where’d that world go, that world when you’re a kid, and now I can’t remember noticing anything, not the smell of the leaves or the sharp curl of dried maple on your ankles, walking? I live in cars now, and my own bedroom, the windows sealed shut, my mouth to my phone, hand slick around its neon jelly case, face closed to the world, heart closed to everything.

Ars Poetica A poem should be palpable and mute As a globed fruit, Dumb As old medallions to the thumb, Silent as the sleeve-worn stone Of casement ledges where the moss has grown— A poem should be wordless As the flight of birds. A poem should be motionless in time As the moon climbs, Leaving, as the moon releases Twig by twig the night-entangled trees, Leaving, as the moon behind the winter leaves, Memory by memory the mind— A poem should be motionless in time As the moon climbs. A poem should be equal to: Not true. For all the history of grief An empty doorway and a maple leaf. For love The leaning grasses and two lights above the sea— A poem should not mean But be.

According to the crazy, bug-eating guys on those survival shows, human beings are the most adaptable creatures on earth- we can get used to just about anything. Doesn't mean it's okay. I mean, who wants to get used to eating grubs and collecting maple leaves for toiler paper? No thanks.

Because it’s easier to wake up and you’re not here than it is to watch you leave me.

I have a habit of leaving a path of destruction in my wake, both literally and metaphorically.” “Like a wildfire.

Nights alone in my yellow kitchen, I made myself hot chocolate. I missed my mother. In my window, maple leaves rusted, young fall blooming.

The nine other students pack up their things and leave the classroom to carry on with their lives, to practices and rehearsals and club meetings. I leave the room, too, but I'm not part of them. They're the same, but I'm changed. I'm unhuman now. Unthetered. While they walk across campus, earthbound and ordinary, I soar, trailing a maple-red comet tail. I'm no longer myself; I am no one. I'm a red balloon caught in the boughts of a tree. I'm nothing at all.

living only for the moment, savouring the moon, the snow, the cherry blossoms, and the maple leaves, singing songs, drinking wine, and diverting oneself in simply floating, unconcerned by the prospect of imminent poverty, buoyant and carefree, like a gourd carried along with the current of the river...

There were so many miracles at work: that a blossom might become a peach, that a bee could make honey in its thorax, that rain might someday fall. I thought then about the seasons changing, and in the gray of night I could almost will myself to see the azure sky, the gold of the maple leaves, the crimson of the ripe apples, the hoarfrost on the grass.

Of course, my fundamentals may not work for everyone. A beautiful aspect of the human race is our endless variety. Like maple leaves and snowflakes, there are no two of us alike.

She sat very still, listening to a stream gurgling, the breeze soughing through upper branches, the melodious kloo-klack of ravens, the nyeep-nyeep of nuthatches - all sounds chokingly beautiful. She felt she could hear the cool clean breath of growing things - fern fronds, maple leaves, white trillium petals, tree trunks, each in its rightful place.

It pained me to think something so inane, but that morning, as she’d subjected me to an endless T-Swift playlist, I realized that Liz was a fucking Taylor Swift song. She was. Vibey and romantic, but with the uncanny ability to reach inside of you and grab your heart with her absolute specificity. Liz Buxbaum wasn’t just a redhead; no, she was a girl whose hair was the color of the late September maple leaves that fluttered on the home base tree in her front yard. And Liz Buxbaum didn’t just wear a sweater, for God’s sake. No, she wore an apple green cardigan that smelled like Chanel No.5 and the front seat of your car, where she’d left it for a week. She said it reminded her of the way the rain sounded on the roof the first time you kissed her.

The maple tree in front of the doorstep burned like a gigantic red torch. The oaks along the roadway glowed yellow and bronze. The fields stretched like a carpet of jewels, emerald and topaz and garnet. Everywhere she walked the color shouted and sang around her. The dried brown leaves crackled beneath her feet and gave off a delicious smoky fragrance. No one had ever told her about autumn in New England. The excitement of it beat in her blood. Every morning she woke with a new confidence and buoyancy she could not explain. In October any wonderful unexpected thing might be possible.

But even in his dissatisfaction he could not quiet the feeling that time was like a flash flood, so full, so brimming with things that must be done at once, but running out all the same, leaving an emptiness, a dry ditch in its wake.

And that's why I don't get to cry, I guess. Because they do. Because we're older but we're not the grown-ups who seem too far away to understand. I tuck that thought inside me, warm and small like balled hands inside hoodie pockets. Beneath the beech trees and sugar maples, feet crunching against dead leaves, I hope for strength. Because as much as I want to be the one crying, I want to be the kind of person someone can hold onto.

Everything dies eventually. We all know that. People, cities, whole civilizations. Nothing lasts. So if existence was just binary, dead or alive, here or not here, what would be the fucking point in anything?" She looks up at some falling leaves and puts out her hand to catch one, a flaming red maple. "My mom used to say that's why we have memory. And the opposite of memory - hope. So things that are gone can still matter. So we can build off our pasts and make futures." She twirls the leaf in front of her face, back and forth. "Mom said life only makes any sense if we can see time how God does. Past, present and future all at once." I allow myself to look at Julie. She sees my tears and tries to wipe one away. "So what's the future?" I ask, not flinching as her fingers brush my eye. "I can see the past and the present, but what's the future?" "Well . . . ," she says with a broken laugh. "I guess that's the tricky part. The past is made out of facts . . . I guess the future is just hope." "Or fear." "No." She shakes her head firmly and sticks the leaf in my hair. "Hope.

To me, the summer wind in the Midwest is one of the most melancholy things in all life. It comes from so far away and blows so gently and yet so relentlessly; it rustles the leaves and the branches of the maple trees in a sort of symphony of sadness, and it doesn't pass on and leave them still. It just keeps coming, like the infinite flow of Old Man River. You could -- and you do -- wear out your lifetime on the dusty plains with that wind of futility blowing in your face. And when you are worn out and gone, the wind -- still saying nothing, still so gentle and sad and timeless -- is still blowing across the prairies, and will blow in the faces of the little men who follow you, forever.

When I go to the woods now, I always head out along the brook and go straight to the big maple. I run there, like Toby must have done on that stormy night, then I bend down and crawl on the earth. Because what if there’s a clue? What if there’s a piece of chunky strawberry bubble gum still bundled up in its waxy wrapper, or a weather-faded matchbook, or a fallen button from somebody’s big gray coat? What if buried under all those leaves is me? Not this me, but the girl in a Gunne Sax dress with the back zipper open. The girl with the best boots in the world. What if she’s under there? What if she’s crying? Because she will be, if I find her. Her tears tell the story of what she knows. That the past, present, and future are just one thing. That there’s nowhere to go from here. Home is home is home.

For hours she had lain in a kind of gentle torpor, not unlike that sweet lassitude which masters one in the hush of a midsummer noon, when the heat seems to have silenced the very birds and insects, and, lying sunk in the tasselled meadow grasses, one looks up through a level roofing of maple-leaves at the vast, shadowless, and unsuggestive blue.

If you ever go to any event ever, for any reason, they will give you a tote bag. Medical conference? Tote bag. Wedding? Tote bag. Syrian refugee arriving in Canada? Maple leaf tote bag. My orthodontist gave me a tote bag. And a t-shirt. Which I put in the tote bag.

This private estate was far enough away from the explosion so that its bamboos, pines, laurel, and maples were still alive, and the green place invited refugees—partly because they believed that if the Americans came back, they would bomb only buildings; partly because the foliage seemed a center of coolness and life, and the estate’s exquisitely precise rock gardens, with their quiet pools and arching bridges, were very Japanese, normal, secure; and also partly (according to some who were there) because of an irresistible, atavistic urge to hide under leaves.

Why do you weep, child? We of the Floating World live only for the moment, giving all our time to the pleasures of cherry blossoms and snow and maple leaves, the calling of a cricket, the beauty of the moon, waning and growing and being reborn, singing our songs and drinking cha and saké, knowing perfumes and the touch of silks, caressing for pleasure, and drifting, always drifting. Listen, child: never sad, always drifting as a lily on the current in the stream of life. How lucky you are, Kiku-chan, you’re a Princess of Ukiyo, the Floating World, drift, live for the moment. . . .

Only a few leaves of deep red remain on the otherwise bare limbs of the maples; the oak leaves are russet and wrinkled; briefly through the trees is the glimpse of the bay, flat and steel-gray today with the overcast November sky.

Do you think of them as decoration? Think again. Here are maples, flashing. And here are the oaks, holding on all winter to their dry leaves. And here are the pines, that will never fail, until death, the instructions to be green.

Spring had come once more to Green Gables-the beautiful, capricious Canadian spring, lingering along through April and may in a succession of sweet, fresh, chilly days, with pink sunsets and miracles of resurrection and growth. The maples in Lover's Lane were red-budded and little curly ferns pushed up around the Dryad's Bubble. Away in the barrens, behind Mr. Silas Sloane's place, the mayflowers blossomed out, pink and white stars of sweetness under their brown leaves. All the school girls and boys had one golden afternoon gathering them, coming home in the clear, echoing twilight with arms and baskets full of flowery spoil.

The cicadas pierce the air with their searing one-note calls; dust eddies across the roads; from the weedy patches at the verges, grasshoppers whir. The leaves of the maples hang from their branches like limp gloves; on the sidewalk my shadow crackles.

Stop this!” he shouted. “Your woodland magic is no match for a Titan!” But the more he struggled, the faster the roots grew. They curled about his body, thickening and hardening into bark. His golden armor melted into the wood, becoming part of a large trunk. The music continued. Hyperion’s forces backed up in astonishment as their leader was absorbed. He stretched out his arms and they became branches, from which smaller branches shot out and grew leaves. The tree grew taller and thicker, until only the Titan’s face was visible in the middle of the trunk. “You cannot imprison me!” he bellowed. “I am Hyperion! I am—” The bark closed over his face. Grover took his pipes from his mouth. “You are a very nice maple tree.

Dark brown hair decorates his head and always looks tousled, as though his hands are constantly moving through it

Fall arrived with its honey light and cool evenings, and the maple leaves brightened to match the reds and yellow of ripe apples. It was time to put away the bounty of the warm months for fortitude during the cold ones, as humans had done for centuries.

I had always heard your entire life flashes in front of your eyes the second before you die. First of all, that one second isn't a second at all, it stretches on forever, like an ocean of time... For me, it was lying on my back at Boy Scout camp, watching falling stars... And yellow leaves, from the maple trees, that lined our street... Or my grandmother's hands, and the way her skin seemed like paper... And the first time I saw my cousin Tony's brand new Firebird... And Janie... And Janie... And... Carolyn. I guess I could be pretty pissed off about what happened to me... but it's hard to stay mad, when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much, my heart fills up like a balloon that's about to burst... And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I can't feel anything but gratitude for every single moment of my stupid little life... You have no idea what I'm talking about, I'm sure. But don't worry... you will someday.

I feel you're far away,” the man might say. He is observing you, calculating, forming equations he may take to a representative of the patriarchy, such as a doctor, a lawyer, or military official. He is considering physical incarceration and/or biochemical imprisonments such as occur with antidepressants. He is dangerous. This is a juncture where you may smile. This is optional. You might allow your lips to form the ambiguous seductive shape of slow regret. Or let your mouth fill with too much night, incinerated maple leaves and fox teeth. What you mean is, not yet.

There will be unkindness wherever you go, Erimentha, but that doesn’t mean that there are unkind people”. I nod slowly. “So unkindness is only temporary?”. “Yes, I believe it is," she says and I look up at the Red Maple whose leaves have only just started to tinge. “I’m not going to tell you that I have lived a morally perfect life because I haven’t. When I was a little girl, I would pinch my sister when my mother wasn’t looking. But does this make me an unkind person?”. I shake my head. “No. Because you are kind at other times”. “And that’s exactly it. Sometimes we’re kind and sometimes we’re not. Some people just lose sight of the good inside of them”.

Grief might be easy if there wasn't still such beauty--would be far simpler if the silver maple didn't thrust its leaves into flame, trusting that spring will find it again.

What’re you doing?” “I’m watching you go in so you don’t have to watch me leave.

Today was the first day when I could really tell that summer was over. The cold air sparkled and the maple leaves were rotting, putting forth their lovely reek, like dead pancakes.

Vespers In your extended absence, you permit me use of earth, anticipating some return on investment. I must report failure in my assignment, principally regarding the tomato plants. I think I should not be encouraged to grow tomatoes. Or, if I am, you should withhold the heavy rains, the cold nights that come so often here, while other regions get twelve weeks of summer. All this belongs to you: on the other hand, I planted the seeds, I watched the first shoots like wings tearing the soil, and it was my heart broken by the blight, the black spot so quickly multiplying in the rows. I doubt you have a heart, in our understanding of that term. You who do not discriminate between the dead and the living, who are, in consequence, immune to foreshadowing, you may not know how much terror we bear, the spotted leaf, the red leaves of the maple falling even in August, in early darkness: I am responsible for these vines.

Maple leaves in autumn do not suddenly transform into stained glass pendants...in order to satisfy a human longing for beauty. Their scarlet, ochre, and golden colors emerge as chlorophyll production shuts down, in preparation for sacrificing the leaves that are vulnerable to winter cold, and ensuring the survival of the tree. But the tree survives, WHILE our vision is ravished. The peacock's display attracts a hen, AND it nourishes the human eye. The flower's fragrance entices a pollinator, BUT IT ALSO intoxicates the gardener. In that "while," in that "and," in that "but it also," we find the giftedness of life.

Is the soul solid, like iron? Or is it tender and breakable, like the wings of a moth in the beak of the owl? Who has it, and who doesn’t? I keep looking around me. The face of the moose is as sad as the face of Jesus. The swan opens her white wings slowly. In the fall, the black bear carries leaves into the darkness. One question leads to another. Does it have a shape? Like an iceberg? Like the eye of a hummingbird? Does it have one lung, like the snake and the scallop? Why should I have it, and not the anteater who loves her children? Why should I have it, and not the camel? Come to think of it, what about the maple trees? What about the blue iris? What about all the little stones, sitting alone in the moonlight? What about roses, and lemons, and their shining leaves? What about the grass? —Mary Oliver, “Some Questions You Might Ask

Each leaf on the maples and lindens was sharply outlined, as if chiselled from black stone. Taken as a whole, however, the great mass of trees seemed like a flat black pattern against the bright sky. The world’s beauty had surpassed itself. It was one of those moments when everyone stops to gaze in wonder—not only the idler with time on his hands but also the shift worker on his way home and the traveller half-dead on his feet. At times like this we cease to have distinct perceptions of light, space, silence, rustlings, warmth, sweet smells, the swaying of long grass or leaves—all the millions of ingredients that make up the world’s beauty. What we perceive then is true beauty, and it tells us only one thing: that life is a blessing.

I just want to be wanted.” “You are. Let’s both stay. Let me show you how wanted you are.” “I like who I am when I’m with you, but what if you leave, too? Who am I going to be then?” “Do you trust me? I’m not going anywhere, but you don’t need me, Aurora. You’re strong and sweet and funny. You’re smart and affectionate and you’re all those things without me. You don’t need anyone but yourself, but you can have me anyway. I worry I’m going to fuck this up, too, but we have to trust ourselves as much as we trust each other.

How curious it is that in nature, the most vibrant colors are those that precede death. The delicate pinks and blues of spring are wan in comparison to the dramatic crimson of the hawthorn berries or the bloody gashes of the buckthorn leaves in late November. Stars blaze pale in their infancy, but in old age they melt and simmer in reds and oranges just as the oaks and maples do. Youth, it seems, is a state of diffuse abundance, while death’s approach concentrates.

The leaves on our little maple, all taken together, weigh thirty-five pounds. Every ounce therein must be pulled from the air or mined from the soil—and quickly—over the course of a few short months. From the atmosphere, a plant gains carbon dioxide, which it will make into sugar and pith. Thirty-five pounds of maple leaves may not taste sweet to you and me, but they actually contain enough sucrose to make three pecan pies, which is the sweetest thing that I can think of right now. The pithy skeleton within the leaves contains enough cellulose to make almost three hundred sheets of paper, which is about the number that I used to print out the manuscript for this book. Our

Living only for the moment, giving all our time to the pleasures of the moon, the snow, cherry blossoms, and maple leaves. Singing songs, drinking sake, caressing each other, just drifting, drifting. Never giving a care if we had no money, never sad in our hearts. Only like a plant moving on the river’s current; this is what is called The Floating World.

Glancing over my shoulder as I reach my door, Archers ever-present scowl has me pinning him with my own icy stares.

What’re you doing?” “I’m watching you go in so you don’t have to watch me leave.

PROSCIUTTO- AND SAGE-WRAPPED DATES (Serves 6)   INGREDIENTS 24 fresh sage leaves 12 dates, halved, pits removed 1 pack prosciutto, each slice sliced lengthways down the middle 2 Tablespoons maple syrup   Preheat oven to 350 degrees. Place a sage leaf on each date half, wrap with prosciutto, place flat side down on a baking sheet. Bake 10 minutes. Brush with maple syrup and serve.

He wanted to tell her that it was all meaningless, that good people died too young, for no good reason, and that the world was filled with people who would seek to do her harm, and that there was no way of telling what was around the corner or even if there was any corner ahead at all. And yet— As he looked at her, and she looked at the house, something in the way the leaves of the maple caught the sun and illuminated the woman beneath it made his heart ache and expand, and he realized that he wanted to tell her, too, that by some strange twist it was the very meaningless of life that made it all so beautiful and rare and wonderful. That for all its savagery—because of its savagery—war had brightened every color. That without the darkness one would never notice the stars.

Autumn in the country advances in a predictable path, taking its place among the unyielding rhythms of the passing seasons. It follows the summer harvest, ushering in cooler nights, and shorter days, enveloping all of Lanark County in a spectacular riot of colour. Brilliant hues of yellow, orange and red exclaim, in no uncertain terms, that these are the trees where maple syrup legends are born.

Grandma, he had often wanted to say, Is this where the world began? For surely it had begun in no other than a place like this. The kitchen, without doubt, was the center of creation, all things revolved about it; it was the pediment that sustained the temple. Eyes shut to let his nose wander, he snuffed deeply. He moved in the hell-fire steams and sudden baking-powder flurries of snow in this miraculous climate where Grandma, with the look of the Indies in her eyes and the flesh of two warm hens in her bodice, Grandma of the thousand arms, shook, basted, whipped, beat, minced, diced, peeled, wrapped, salted, stirred. Blind, he touched his way to the pantry door. A squeal of laughter rang from the parlor, teacups tinkled. But he moved on into the cool underwater green and wild-persimmon country where the slung and hanging odor of creamy bananas ripened silently and bumped his head. Gnats fizzed angrily about vinegar cruets and his ears. He opened his eyes. He saw bread waiting to be cut into slices of warm summer cloud, doughnuts strewn like clown hoops from some edible game. The faucets turned on and off in his cheeks. Here on the plum-shadowed side of the house with maple leaves making a creek-water running in the hot wind at the window he read spice-cabinet names.

The maple brings tourists who come to marvel at the blazing colours of the autumn leaves and it brings cash dollars in the form of the unctuous, faintly metallic syrup that Americans like to pour all over their breakfast, on waffles and pancakes certainly, but on bacon too. Sounds alarming to English ears, but actually it is rather delicious. Like crack, crystal meth, and Chocolate HobNobs, one nibble and you're hooked for life.

Under the trimmed willows, where brown children are playing And leaves tumbling, the trumpets blow. A quaking of cemeteries. Banners of scarlet rattle through a sadness of maple trees, Riders along rye-fields, empty mills. Or shepherds sing during the night, and stags step delicately Into the circle of their fire, the grove’s sorrow immensely old, Dancing, they loom up from one black wall; Banners of scarlet, laughter, insanity, trumpets

Sifting through the sieve of branches, a dusting of sugar over the cereal of dead leaves. An inch of snow accumulated through the night: slow, slow confectioners' sugar coming down through the thick limbs of fir and maple and oak.

When autumn gusts blew in from the Rideau Lakes, parched brown leaves swirled and scattered around the sides of the neglected building, forming mounds like grave-markers, for ghosts of the past, who lingered on the dust-covered dance floor.

A smaller woman I recognize from all the pictures steps in front of me and reaches out for a hug. “Hi! I’m Stassie, it’s so nice to meet you. Nate told me all about you, but he has hockey stuff and can’t leave Vancouver. He’s really sad he’s missing out.

The morning of September 1st met the citizen of the village shining with beautiful sunny weather. A refreshing breeze, enriched by acerb fragrances of maple, oak, and poplar tree leaves that already began changing their colors for autumn, blew from the lake.

My nutmeg-caraway shortbread had too many conflicting spices, he would say. And of course, it had nothing to do with leaves. The lemon-raspberry cake decorated with lemon leaves was too tart, and the toffee cupcakes with leaf-shaped maple candy were cloying.

Martin knew it was autumn again, for Dog ran into the house bringing wind and frost and a smell of apples turned to cider under trees. In dark clock-springs of hair, Dog fetched goldenrod, dust of farewell-summer, acorn-husk, hair of squirrel, feather of departed robin, sawdust from fresh-cut cordwood, and leaves like charcoals shaken from a blaze of maple trees. Dog jumped. Showers of brittle fern, blackberry vine, marsh-grass sprang over the bed where Martin shouted. No doubt, no doubt of it at all, this incredible beast was October!

The leaves were half-gone now. The Norway maples still hung on to their yellow, but most of the orangey-red of the sugar maples had found their way to the ground, leaving behind the stark branches that seemed to hang like stuck-out arms and tiny fingers, skeletal and bleak.

There was a time—the year after leaving, even five years after when this homely street, with its old-fashioned high crown, its sidewalk blocks tugged up and down by maple roots, its retaining walls of sandstone and railings of painted iron and two-family brickfront houses whose siding imitates gray rocks, excited Rabbit with the magic of his own existence. These mundane surfaces had given witness to his life; this cup had held his blood; here the universe had centered, each downtwirling maple seed of more account than galaxies. No more. Jackson Road seems an ordinary street anywhere. Millions of such American streets hold millions of lives, and let them sift through, and neither notice nor mourn, and fall into decay, and do not even mourn their own passing but instead grimace at the wrecking ball with the same gaunt facades that have outweathered all their winters. However steadily Mom communes with these maples—the branches’ misty snake-shapes as inflexibly fixed in these two windows as the leading of stained glass—they will not hold back her fate by the space of a breath; nor, if they are cut down tomorrow to widen Jackson Road at last, will her staring, that planted them within herself, halt their vanishing. And the wash of new light will extinguish even her memory of them. Time is our element, not a mistaken invader. How stupid, it has taken him thirty-six years to begin to believe that.

She could picture it now, a huge stack of fluffy pumpkin waffles with maple syrup and spiced cinnamon butter, the perfect breakfast for fall. Something that tasted like crisp, cool air and golden-orange leaves and bundling up in her favorite sweater. Something that tasted like home.

Yes, I had dreamed of becoming a botanist, my entire life, really. I'd thought a great deal about the various species of maple and rhododendron while braiding challah, and I'd successfully planted a wisteria vine in a large pot and trained it over the awning of the bakery. And at night, after we closed shop, I volunteered at the New York Botanical Garden. Sweeping up cuttings and fallen leaves hardly seemed like work when it provided the opportunity to gaze into the eye of a Phoenix White peony or a Lady Hillingdon rose, with petals the color of apricot preserves. Yes, horticulture, not pastries, was my passion.

FRENCH TOAST I like to cook up a batch, then refrigerate or freeze individual slices in zip-top bags. A quick heating in the toaster or microwave oven and breakfast is ready. Substitute a tablespoon of brown sugar for the dates if you wish. The turmeric is for color; if you don’t have it, just leave it out. PREP: 10 MINUTES | COOK: 15 MINUTES • MAKES 12 SLICES 2 cups Cashew Milk 3 tablespoons chopped, pitted dates 1⁄8 teaspoon ground cinnamon Dash of ground turmeric 12 slices whole wheat bread Pure maple syrup, fruit sauce, or fruit spread, for serving Process 1 cup of the Cashew Milk and the dates, cinnamon, and turmeric in a blender until smooth. Add the remaining 1 cup Cashew Milk and blend a few more moments. Pour the mixture into a bowl and dip slices of bread in it, one at a time, coating them well. Heat a nonstick griddle or skillet over medium heat. Cook as many slices as your pan will handle at a time, turning until both sides are evenly browned. Serve warm with toppings of your choice.

It’s just color theory, Cap.” “Do not be sexy about art right now. I’m mad at you.” “Do you want to give me one so we’re even? I don’t mind. You can leave them all over me.” She’s trying not to laugh. “You’re cute when you’re pouty.” “Just hurry up before one of the guys launches Joy’s online cat career.” “So to be clear, I’m not taking off my pants?

Many say autumn is by far the most spectacular season in Lanark County. During these brief few weeks Mother Nature paints our landscape with her most vivid palette, colouring our trees with broad strokes of the richest crimsons, fiery oranges, and the sunniest yellows, leaving no doubt in anyone's mind that these sugar maples are the crown jewels of our forests.

The candy cap was a revelation to me: redolent with the smell of maple, marvelously silky and spongy in texture, earth and meaty and sweet. When you eat a candy cap, your skin smells like maple sugar. When you exercise after eating a candy cap, your sweat smells like maple sugar. When you make love after eating a candy cap . . . well, I leave that to your imagination, but . . . yes.

The Life of a Day Like people or dogs, each day is unique and has its own personality quirks which can easily be seen if you look closely. but there are so few days as compared to people, not to mention dogs, that it would be surprising if a day were not a hundred times more interesting than most people. But usually they just pass, mostly unnoticed, unless they are wildly nice, like autumn ones full of red maple trees and hazy sunlight, or if they are grimly awful ones in a winter blizzard that kills the lost traveler and bunches of cattle. For some reason we like to see days pass, even though most of us claim we don't want to reach our last one for a long time. We examine each day before us with barely a glance and say, no, this isn't one I've been looking for, and wait in a bored sort of way for the next, when, we are convinced, our lives will start for real. Meanwhile, this day is going by perfectly well-adjusted, as some days are, with the right amounts of sunlight and shade, and a light breeze scented with a perfume made from the mixture of fallen apples, corn stubble, dry oak leaves, and the faint odor of last night's meandering skunk.

After a long summer of green, the prairie towns have their brief season of colour. The leaves on the trees begin to turn—first a branch, then a tree, then a whole street of trees, like middle-aged people falling in love. The maples turn bright orange or scarlet, the elms a pale poetic yellow, and before the colour has reached its height, the leaves begin to detach themselves, to drift down. – William Maxwell, Time Will Darken It (Random House, 2010)

But the first time I saw you. Rio. I took that down to the gardens. I pressed it into the leaves of a silver maple and recited it to the Waterloo Vase. It didn’t fit in any rooms. You were talking with Nora and June, happy and animated and fully alive, a person living in dimensions I couldn’t access, and so beautiful. Your hair was longer then. You weren’t even a president’s son yet, but you weren’t afraid. You had a yellow ipê-amarelo in your pocket.

TAKING LEAVE Of the unhindered motion in the million swirled and twisted grooves of the juniper driftwood lying in the sand; taking leave of each sapphire and amber thread and each iridescent bead of the swallowtail's wing and of the quick and clever needle of the seamstress in the dark cocoon that accomplished the stitching. Goodbye to the long pale hairs of the swaying grassflowers, so like, in grace and color and bearing, the nodding antennae of the green valley grasshopper clinging to its blade; and to the staircase shell of the butter-colored wendletrap and to the branches of the sourwood making their own staircase with each step upward they take and to the spiraling of the cobweb weaver twirling as it descends on its silk out of the shadows of the pitch pine. Taking leave of the sea of spring, that grey-green swell slowly rising, spreading, its heavy wisteria-scented surf filled with darting, gliding, whistling fish, a current of cries, an undertow of moans and buzzes, so pervasive and penetrating and alluring that the lungs adapt to the density. Determined not to slight the knotted rockweed or the beach plum or the white, blue-tipped petals of the five spot; determined not to overlook the pursed orange mouth of each maple leaf just appearing or the entire chorus of those open leaves in full summer forte. My whole life, a parting from the brazen coyote thistle and the reticent, tooth-ridged toad crab and the proud, preposterous sage grouse. And you mustn't believe that the cessation which occurs here now is more than illusory; the ritual of this leave-taking continues beyond these lines, in a whisper beside the window, below my breath by the river, without noise through the clearing at midnight, even in the dark, even in sleep, continues, out-of-notice, private, incessant.

But the first time I saw you. Rio. I took that down to the gardens. I pressed it into the leaves of a silver maple and recited it to the Waterloo Vase. It didn’t fit in any rooms. You were talking with Nora and June, happy and animated and fully alive, a person living in dimensions I couldn’t access, and so beautiful. Your hair was longer then. You weren’t even a president’s son yet, but you weren’t afraid. You had a yellow ipê-amarelo in your pocket. I thought, this is the most incredible thing I have ever seen, and I had better keep it a safe distance away from me. I thought, if someone like that ever loved me, it would set me on fire. And then I was a careless fool, and I fell in love with you anyway. When you rang me at truly shocking hours of the night, I loved you. When you kissed me in disgusting public toilets and pouted in hotel bars and made me happy in ways in which it had never even occurred to me that a mangled-up, locked-up person like me could be happy, I loved you. And then, inexplicably, you had the absolute audacity to love me back. Can you believe it? Sometimes, even now, I still can’t.

Just as Drake turned six weeks old, I decided I wanted to lose some baby weight. Chip and I were both still getting used to the idea that we had a baby of our own now, but I felt it was okay to leave him with Chip for a half hour or so in the mornings so I could take a short run up and down Third Street. I left Drake in the little swing he loved, kissed Chip good-bye, and off I went. Chip was so sweet and supportive. When I got back he was standing in the doorway saying, “Way to go, baby!” He handed me a banana and asked if I’d had any cramps or anything. I hadn’t. I actually felt great. I walked in and discovered Chip had prepared an elaborate breakfast for me, as if I’d run a marathon or something. I hadn’t done more than a half-mile walk-run, but he wanted to celebrate the idea that I was trying to get myself back together physically. He’d actually driven to the store and back and bought fresh fruit and real maple syrup and orange juice for me. I sat down to eat, and I looked over at Drake. He was sound asleep in his swing, still wearing nothing but his diaper. “Chip, did you take Drake to the grocery store without any clothes on?” Chip gave me a real funny look. He said, “What?” I gave him a funny look back. “Oh my gosh,” he said. “I totally forgot Drake was here. He was so quiet.” “Chip!” I yelled, totally freaked out. I was a first-time mom. Can you imagine? Anyone who’s met Chip knows he can get a little sidetracked, but this was our child! He was in that dang swing that just made him perfectly silent. I felt terrible. It had only been for a few minutes. The store was just down the street. But I literally got on my knees to beg for Jo’s forgiveness.

Imagination, then, must be the flip side of memory, not so much a calling up as a calling forth. Yet imagination also relies on knowledge: on knowing what is—and is not—possible in this world of fact. Imagination plants the seed or buries the bulb knowing the seasons will shift, seeing, in the mind’s eye, April give way to August, the azalea to the rose, knowing that the red leaves of the maple will burnish in autumn, knowing that from this exact window, one can look down to the inlet where the moon’s reflection will be just another shimmering white blossom.

October Fire In the churchyard, flames, the Burning Bush, a maple touched to fire, by autumn fanned. Were I possessed as Moses was, the hush might speak, Jehovah's voice resound.I stand uncertain, questions wrinkling my face: Should I kneel, is this some holy ground? Or is it just the usual for this place that maples turn, a season come around? And as I ponder, November rain gathers wind from lowering eastern skies to strip the maple of its leaves.The stain of scarlet filters down before my eyes. I wait too long; I watch the moment pass till only ashes stir upon the grass.

September 15th Begin here. It is raining. I look out on the maple, where few leaves have turned yellow, and listen to Punch, the parrot, talking to himself, and to the rain ticking gently against the windows. I am here alone for the first time in weeks, to take up my 'real' life again at last. That's what is strange -- that friends, even passionate love, are not my real life, unless there is time alone in which to explore and to discover what is happening or has happened. Without the interruptions, nourishing and maddening, this life would become arid. Yet I taste it fully only when I am alone here and 'the house and I resume old conversations.

Night thinks it’s crying again and I keep listening to a song about autumn where an apple tastes like longing and every leaf in the maple tree tries to explain loss through a series of colors—hectic orange, indifferent red, a kind of gold that speaks directly to god or moonbeams and in the dark as I drive down wet roadways watching for deer, the only thing I can see clearly are the yellow leaves christening my windshield and I think how we are taught not to love too many, too much, the night, the darkness, and I think I am crying but it is only rain. — Kelli Russell Agodon, “Night thinks it’s crying again,” Southern Indiana Review (Spring 2021)

The sun was gone, and the moon was coming Over the blue Connecticut hills; The west was rosy, the east was flushed, And over my head the swallows rushed This way and that, with changeful wills. I heard them twitter and watched them dart Now together now apart Like dark petals blown from a tree; The maples stamped against the west Were black and stately and full of rest, And the hazy orange moon grew up And slowly changed to yellow gold While the hills were darkened, fold on fold To a deeper blue than a flower could hold. Down the hill I went, and then I forgot the ways of men, For night-scents, heady, and damp and cool Wakened ecstasy in me On the brink of a shining pool. O Beauty, out of many a cup You have made me drunk and wild Ever since I was a child, But when have I been sure as now That no bitterness can bend And no sorrow wholly bow One who loves you to the end? And though I must give my breath And my laughter all to death, And my eyes through which joy came, And my heart, a wavering flame; If all must leave me and go back Along a blind and fearful track So that you can make anew, Fusing with intenser fire, Something nearer you desire; If my soul must go alone Through a cold infinity, Or even if it vanish, too, Beauty, I have worshipped you. Let this single hour atone For the theft of all of me

Praise the light of late November, the thin sunlight that goes deep in the bones. Praise the crows chattering in the oak trees; though they are clothed in night, they do not despair. Praise what little there’s left: the small boats of milkweed pods, husks, hulls, shells, the architecture of trees. Praise the meadow of dried weeds: yarrow, goldenrod, chicory, the remains of summer. Praise the blue sky that hasn’t cracked yet. Praise the sun slipping down behind the beechnuts, praise the quilt of leaves that covers the grass: Scarlet Oak, Sweet Gum, Sugar Maple. Though darkness gathers, praise our crazy fallen world; it’s all we have, and it’s never enough.

Fir, cedar, pines, oaks, and maples densely timbered this section. But it was the redwoods that never failed to fill him with awe. Their feathery-looking needles and reddish bark. The way they stretched up to incredible heights and the sheer magnitude of their circumferences. How long ago had God planted their seeds? Hundreds of years? Thousands? As he stood amongst those mighty giants, he realized the land wasn’t his at all. It was God’s. God had formed and planted the seeds. He’d tended the soil and caused it to rain. He’d needed no man. Least of all Joe. Yet over and over Joe had thought of this as his own. My land. My logging camp. My house. My woman. My everything. Picking up his ax, he returned to his work. But in his mind, he reviewed a list of men in the Bible who’d left everything they held dear for parts unknown. Abraham. Jacob. Joseph. Moses. Even a woman. Esther. In every case, their circumstances were much more severe than his. God hadn’t commanded Joe to leave his land, though he’d prayed for guidance. Fasted. Read his Bible. But God had remained silent. Joe simply assumed God was letting him choose. But no matter what he chose, none of it was really his. It was all God’s. And God was sharing it with him. So which did he want? Both. Like a spoiled child, he definitely wanted both. But if he could only have one, wouldn’t he still be a man blessed? Yes. And he’d praise God and thank Him. But that didn’t immediately make the grief shrivel up and blow away. Eyeing where he wanted the tree to fall, he adjusted his stance. I want Anna, Lord. I choose Anna. Yet as long as he lived, he’d always miss this land. He’d miss the Territory. He’d miss the logging. He’d miss his friends. The cypress began to pop and splinter. Jumping away, he braced his feet, threw back his head, and shouted with everything he had. “Timber-r-r-r-r-r-r-r-r-r-r-r-r!” The tree wavered, then crashed to the forest floor. Noise resounded through the copse. The ground shook. Debris flew. Before any of it settled, Joe fell to his knees, doubled over, and sobbed.

Mr. Fish told my mother that he would make a “gift” of Sagamore’s body—to my grandmother’s roses. He implied that a dead dog was highly prized, among serious gardeners; my grandmother wished to be brought into the discussion, and it was quickly agreed which rosebushes would be temporarily uprooted, and replanted, and Mr. Fish began with the spade. The digging was much softer in the rose bed than it would have been in Mr. Fish’s yard, and the young couple and their baby from down the street were sufficiently moved to attend the burial, along with a scattering of Front Street’s other children; even my grandmother asked to be called when the hole was ready, and my mother—although the day had turned much colder—wouldn’t even go inside for a coat. She wore dark-gray flannel slacks and a black, V-necked sweater, and stood hugging herself, standing first on one foot, then on the other, while Owen gathered strange items to accompany Sagamore to the underworld. Owen was restrained from putting the football in the burlap sack, because Mr. Fish—while digging the grave—maintained that football was still a game that would give us some pleasure, when we were “a little older.” Owen found a few well-chewed tennis balls, and Sagamore’s food dish, and his dog blanket for trips in the car; these he included in the burlap sack, together with a scattering of the brightest maple leaves—and a leftover lamb chop that Lydia had been saving for Sagamore (from last night’s supper).

The Brinkmans take to reading, when they're alone together. And, together, they're alone most of the time. ... In place of children, then, books...Ray's shelves are organized by topic; Dorothy's, alphabetical by author. He prefers state-of-the-art books with fresh copyrights. She needs to communicate with the distant dead, alien souls as different from her as possible... Once any given volume enters the house, it can never leave. For Ray, the goal is readiness: a book for every unforeseeable need. Dorothy strives to keep loyal independent booksellers afloat and save neglected gems from the cutout bin. Ray thinks: You never know when you might finally get around to reading that tome you picked up five years ago. And Dorothy: Someday you'll need to take down a worn-out volume and flip to that passage on the lower right-hand face, ten pages from the end, that fills you with such sweet and vicious pain. The conversion of their house into a library happens too slowly to see. The books that won't fit she lays on their sides, on top of the existing rows. This warps the covers and makes him crazy. For a while they solve the problem with more furniture. A pair of cherry cases to set between the windows in his downstairs office. A large walnut unit in the front room, in the space traditionally reserved for the television altar. Maple in the guest room. He says, "That should hold us for a while." She laughs, knowing from every novel she has ever read, how brief a while a while can be.

In those days Cheboygan was already something of a resort town, although Milo didn’t realize this fact until he was older. For most of his childhood, he knew only the deep woods that ran behind their property—350 acres of sugar maple, beech, and evergreen that had managed to remain unlogged during the huge timber harvests that had denuded much of the rest of the state. He spent a good part of his days inside this forest. The soil there was padded with a layer of decaying leaves and needles whose scents mingled to form a cool spice in his nose. He didn’t notice the smell when he was in it so much as feel its absence when he wasn’t. School, home, any building he had to spend time in—they all left him with the feeling that something had been cleaned away.

Dear March — Come in — How glad l am I hoped for you before - Put down your Hat— You must have walked - How out of Breath you are - Dear March, how are you, and the Rest- Did you leave Nature well - Oh March, Come right up stairs with me — I have so much to tell - I got your Letter, and the Birds - The Maples never knew that you were coming - till I called I declare - how Red their Faces grew - But March, forgive me - and All those Hills you left for me to Hue - There was no Purple suitable - You took it all with you - Who knocks'? That April. Lock the Door I will not be pursued He stayed away a Year to call When I am occupied But trifles look so trivial As soon as you have come That Blame is just as dear as Praise And Praise as mere as Blame -

There's something i'm finding out as l'm aging, that I am in love with the world. As I look out my window and see my trees, my beautiful beautiful maples that are hundreds of years old, they re beautiful, and you say 'I can see how beautiful they are'; I can take the time to see how beautiful they are. It is a blessing to grow old, it is a blessing to do the things, to read the books, to listen to the music. I don't think I'm rationalizing, I really don't. Because this is all inevitable and I have no control. ... I don't know anymore, and I don't care.... I have nothing now but praise for my life. I'm not unhappy. I cry a lot because I miss people. They die and I can't stop them. They leave me and I love them more. ... What I dread is the isolation. ... There are so many beautiful things in the world which I will have to leave when I die, but I'm ready, I'm ready, I'm ready.

The instruments of murder are as manifold as the unlimited human imagination. Apart from the obvious—shotguns, rifles, pistols, knives, hatchets and axes—I have seen meat cleavers, machetes, ice picks, bayonets, hammers, wrenches, screwdrivers, crowbars, pry bars, two-by-fours, tree limbs, jack handles (which are not “tire irons;” nobody carries tire irons anymore), building blocks, crutches, artificial legs, brass bedposts, pipes, bricks, belts, neckties, pantyhose, ropes, bootlaces, towels and chains—all these things and more, used by human beings to dispatch their fellow human beings into eternity. I have never seen a butler use a candelabrum. I have never seen anyone use a candelabrum! Such recherché elegance is apparently confined to England. I did see a pair of sneakers used to kill a woman, and they left distinctive tread marks where the murderer stepped on her throat and crushed the life from her. I have not seen an icicle used to stab someone, though it is said to be the perfect weapon, because it melts afterward. But I do know of a case in which a man was bludgeoned to death with a frozen ham. Murderers generally do not enjoy heavy lifting—though of course they end up doing quite a bit of it after the fact, when it is necessary to dispose of the body—so the weapons they use tend to be light and maneuverable. You would be surprised how frequently glass bottles are used to beat people to death. Unlike the “candy-glass” props used in the movies, real glass bottles stand up very well to blows. Long-necked beer bottles, along with the heavy old Coca-Cola and Pepsi bottles, make formidable weapons, powerful enough to leave a dent in a wooden two-by-four without breaking. I recall one case in which a woman was beaten to death with a Pepsi bottle, and the distinctive spiral fluting of the bottle was still visible on the broken margins of her skull. The proverbial “lead pipe” is a thing of the past, as a murder weapon. Lead is no longer used to make pipes.

I have gone into the waste lonely places Behind the eye; the lost acres at the edge of smoky cities. What’s beyond never crumbles like an embankment, Explodes like a rose, or thrusts wings over the Caribbean. There are no pursuing forms, faces on walls: Only the motes of dust in the immaculate hallways, The darkness of falling hair, the warning from lint and spiders, The vines graying to a fine powder. There is no riven tree, or lamb dropped by an eagle. There are still times, morning and evening: The cerulean, high in the elm, Thin and insistent as a cicada, And the far phoebe, singing, The long plaintive notes floating down, Drifting through leaves, oak and maple, Or the whippoorwill, along the smoky ridges, A single bird calling and calling: A fume reminds me, drifting across wet gravel; A cold wind comes over stones; A flame, intense, visible, Plays over the dry pods, Runs fitfully along the stubble, Moves over the field, Without burning. In such times, lacking a god, I am still happy.

A sudden wind rustled through the birches; a gust of yellow leaves came storming down. I took a sip of my drink. If I had grown up in that house I couldn’t have loved it more, couldn’t have been more familiar with the creak of the swing, or the pattern of the clematis vines on the trellis, or the velvety swell of land as it faded to gray on the horizon, and the strip of highway visible—just barely—in the hills, beyond the trees. The very colors of the place had seeped into my blood: just as Hampden, in subsequent years, would always present itself immediately to my imagination in a confused whirl of white and green and red, so the country house first appeared as a glorious blur of watercolors, of ivory and lapis blue, chestnut and burnt orange and gold, separating only gradually into the boundaries of remembered objects: the house, the sky, the maple trees. But even that day, there on the porch, with Charles beside me and the smell of wood smoke in the air, it had the quality of a memory; there it was, before my eyes, and yet too beautiful to believe.

Suddenly, the wind got colder for a moment. Colder and fiercer. I had to hold my hair down, the blonde locks thick with mousse and hairspray, as they were being whipped around my face. Something caught my eye. Out in the dark yard, behind the huge maple tree, I saw movement—a dark figure shifting as if to hide behind the tree. A Peeping Tom? Creepy. And you always think in the city you’ll see the weirdos, and there I was in a small town, blatantly staring at a man watching me. Maybe it was Josh. But wouldn’t he just say hi and be my Romeo to his Juliet? Holding my hair to my face, I tried to focus my eyes. But with so little light behind the shape, it was hard to see clearly, and I lost it completely when it stopped moving. I squinted in disbelief at two red slits glowing mid-trunk on the tree. I would’ve thought they were cat’s eyes catching the light, but they seemed much too large and far too high up the trunk of the tree. Not to mention, they were red. If I didn’t know better, I would’ve thought they belonged to the dark figure hiding behind the tree trunk, but that had clearly been a man spying on me. What man had red eyes? I blinked several times, assuming it was a hallucination. When the red eyes didn’t leave and the figure didn’t move from the tree, my stomach sank and my heart raced, but I didn’t move. I was frozen in fear, no—terror. After

Reading Group Guide Questions Discussion questions for The Three Pines Mysteries, by Louise Penny 1. How important is the use of humor in this book? 2. Which Three Pines villager would you most like to have cafe au lait with at the bistro? 3. Why is Ruth a villager? 4. Louise Penny says her books are about murder, but at their heart they’re about other things. What else is this book about? What are some other themes? 5. Agent Nichol is an extremely controversial character in the books. What do you think of her? What purpose does she serve? Discussion questions for Still Life 1. At the beginning of Still Life, we are told that “violent death still surprised” Chief Inspector Armand Gamache. Why is that odd for a homicide detective, and how does it influence his work? What are his strengths and his weaknesses? 2. The village of Three Pines is not on any map, and when Gamache and Agent Nicole first arrive there, they see “the inevitable paradox. An old stone mill sat beside a pond, the mid-morning sun warming its fieldstones. Around it the maples and birches and wild cherry trees held their fragile leaves, like thousands of happy hands waving to them on arrival. And police cars. The snakes in Eden.” Can you find other echoes of Paradise in Three Pines, and what role do snakes—real or metaphorical—play there? 3. There are three main couples in the book: Clara and Peter, Olivier and Gabri, and

And lifting water is just one of the many jobs that the phloem, xylem, and cambium perform. They also manufacture lignin and cellulose; regulate the storage and production of tannin, sap, gum, oils, and resins; dole out minerals and nutrients; convert starches into sugars for future growth (which is where maple syrup comes into the picture); and goodness knows what else. But because all this is happening in such a thin layer, it also leaves the tree terribly vulnerable to invasive organisms. To combat this, trees have formed elaborate defense mechanisms. The reason a rubber tree seeps latex when cut is that this is its way of saying to insects and other organisms, “Not tasty. Nothing here for you. Go away.” Trees can also deter destructive creatures like caterpillars by flooding their leaves with tannin, which makes the leaves less tasty and so inclines the caterpillars to look elsewhere. When infestations are particularly severe, some trees can even communicate the fact. Some species of oak release a chemical that tells other oaks in the vicinity that an attack is under way. In response, the neighboring oaks step up their tannin production the better to withstand the coming onslaught. By such means, of course, does nature tick along. The problem arises when a tree encounters an attacker for which evolution has left it unprepared, and seldom has a tree been more helpless against an invader than the American chestnut against Endothia parasitica. It enters a chestnut effortlessly, devours the cambium cells, and positions itself for attack on the next tree before the tree has the faintest idea,

commonly crossed talons, and eagles squared off against falcons and loons, to say nothing of other eagles. This was no different from when wildlife populations had been at their apex before Euramericans swept over the continent. Conflicts and displays of territoriality were common, and sometimes these kinds of events manifested unexpected and even unconventional behavior that not even scientists could explain. The mystery revealed itself most strikingly when eagles at the Upper Mississippi River National Wildlife and Fish Refuge in Illinois gave cam viewers a rousing performance in 2017 of an intereagle conflict different from Ozzie and M-15’s. Five years earlier, a couple named Valor and Hope had occupied a nest at the eighty-foot top of a silver maple. Valor was not the quintessential devoted parent. He was an unreliable provider. After eggs were laid that year, he rarely assumed his sitting duties. When chicks were in the nest and Hope called for him to bring food, he typically ignored her, forcing Hope to leave the chicks in Valor’s capricious care as she herself went off to hunt. At best, he would squat at the nest’s edge for a few minutes before taking flight to wherever whim took him. In the end, Hope could not sustain the brood without a fully present partner, and her two eaglets died. When Hope returned to the nest the next year, 2013, she brought another mate with her. Valor showed up only to find he’d been ousted. He didn’t fight off his rival, which seems consistent with his inertia as a parent. He didn’t leave the eagledom either, and the new mate didn’t chase him away. Hope and her new partner, whom the refuge’s nest stewards named Valor II, remained cordial toward the original Valor. A couple years later, Valor was part of nest life again, alongside Hope and Valor II. Having emerged from his parental torpor, he assumed the responsibilities of a proper partner. The birds formed a threesome. The refuge’s visitor service manager quipped that the upper Mississippi had its “own little soap opera.” In 2015, the couple and their new partner raised three eaglets.44 Parenting trios in the wild aren’t altogether uncommon, although