Redwood Trees Quotes

I didn't need to understand the hypostatic unity of the Trinity; I just needed to turn my life over to whoever came up with redwood trees.

The redwoods, once seen, leave a mark or create a vision that stays with you always. No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not transferable. From them comes silence and awe. It's not only their unbelievable stature, nor the color which seems to shift and vary under your eyes, no, they are not like any trees we know, they are ambassadors from another time.

A hypocrite is the kind of politician who would cut down a redwood tree, then mount the stump and make a speech for conservation.

As I walk through the redwood trees, my sneakers sopping up days of rain, I wonder why bereaved people even bother with mourning clothes, when grief itself provides such an unmistakable wardrobe.

No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not transferable. From them comes silence and awe.

From the green belt balcony, the wildfires look so pretty Ponderosa canopy, I’d never leave if it were up to me To the ruby redwood tree, and to the velvet climbing ivy painted all mahogany I’d never leave if it were up to me

Tree It is foolish to let a young redwood grow next to a house. Even in this one lifetime, you will have to choose. That great calm being, this clutter of soup pots and books-- Already the first branch-tips brush at the window. Softly, calmly, immensity taps at your life.

People here had redwood trees in their backyards. You were never far from the infinite.

when you see someone in a tree trying to protect it , you know that every level of our society have failed , the consumers have failed , the companies have failed , the government has failed .

Char me the trunk of a redwood tree. Give me pages of white chalk cliffs to write upon. Magnify me thousands of times, and replace my trifling immodesties with a titanic megalomania — then might I write largely enough for our subjects.

Men live their lives trapped in an eternal present, between the mists of memory and the sea of shadow that is all we know of the days to come. Certain moths live their whole lives in a day, yet to them that little span of time must seem as long as years and decades do to us. An oak may live three hundred years, a redwood tree three thousand. A weirwood will live forever if left undisturbed. To them seasons pass in the flutter of a moth's wing, and past, present, and future are one.

If people in general could be got into the woods, even for once, to hear the trees speak for themselves, all difficulties in the way of forest preservation would vanish.

If things were different, you wouldn’t have been you.” He finally looks back to me. His once icy eyes are now tepid pools as inviting and warm as the creeks I would strip bare and swim in underneath the redwood trees deep in the forests around the temple. “And I’ve found I’m very fond of exactly the woman you are. I wouldn’t change a single thing.

Amory Lovins says the primary design criteria he uses is the question “How do we love all the children?” Not just our children, not just the ones who look like us or who have resources, not just the human children but the young of birds and salmon and redwood trees. When we love all the children, when that love is truly sacred to us in the sense of being most important, then we have to take action in the world to enact that love. We are called to make the earth a place where all the children can thrive.

ANDRÉ: . . . And when I was at Findhorn I met this extraordinary English tree expert who had devoted himself to saving trees, and he’d just got back from Washington lobbying to save the Redwoods. And he was eighty-four years old, and he always travels with a backpack because he never knows where he’s going to be tomorrow. And when I met him at Findhorn he said to me, “Where are you from?” And I said, “New York.” And he said, “Ah, New York, yes, that’s a very interesting place. Do you know a lot of New Yorkers who keep talking about the fact that they want to leave, but never do?” And I said, “Oh, yes.” And he said, “Why do you think they don’t leave?” And I gave him different banal theories. And he said, “Oh, I don’t think it’s that way at all.” He said, “I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves, and the inmates are the guards, and they have this pride in this thing that they’ve built—they’ve built their own prison—and so they exist in a state of schizophrenia where they are both guards and prisoners. And as a result they no longer have—having been lobotomized—the capacity to leave the prison they’ve made or even to see it as a prison.” And then he went into his pocket, and he took out a seed for a tree, and he said, “This is a pine tree.” And he put it in my hand. And he said, “Escape before it’s too late.

Live or die, but don't poison everything... Well, death's been here for a long time -- it has a hell of a lot to do with hell and suspicion of the eye and the religious objects and how I mourned them when they were made obscene by my dwarf-heart's doodle. The chief ingredient is mutilation. And mud, day after day, mud like a ritual, and the baby on the platter, cooked but still human, cooked also with little maggots, sewn onto it maybe by somebody's mother, the damn bitch! Even so, I kept right on going on, a sort of human statement, lugging myself as if I were a sawed-off body in the trunk, the steamer trunk. This became perjury of the soul. It became an outright lie and even though I dressed the body it was still naked, still killed. It was caught in the first place at birth, like a fish. But I play it, dressed it up, dressed it up like somebody's doll. Is life something you play? And all the time wanting to get rid of it? And further, everyone yelling at you to shut up. And no wonder! People don't like to be told that you're sick and then be forced to watch you come down with the hammer. Today life opened inside me like an egg and there inside after considerable digging I found the answer. What a bargain! There was the sun, her yolk moving feverishly, tumbling her prize -- and you realize she does this daily! I'd known she was a purifier but I hadn't thought she was solid, hadn't known she was an answer. God! It's a dream, lovers sprouting in the yard like celery stalks and better, a husband straight as a redwood, two daughters, two sea urchings, picking roses off my hackles. If I'm on fire they dance around it and cook marshmallows. And if I'm ice they simply skate on me in little ballet costumes. Here, all along, thinking I was a killer, anointing myself daily with my little poisons. But no. I'm an empress. I wear an apron. My typewriter writes. It didn't break the way it warned. Even crazy, I'm as nice as a chocolate bar. Even with the witches' gymnastics they trust my incalculable city, my corruptible bed. O dearest three, I make a soft reply. The witch comes on and you paint her pink. I come with kisses in my hood and the sun, the smart one, rolling in my arms. So I say Live and turn my shadow three times round to feed our puppies as they come, the eight Dalmatians we didn't drown, despite the warnings: The abort! The destroy! Despite the pails of water that waited, to drown them, to pull them down like stones, they came, each one headfirst, blowing bubbles the color of cataract-blue and fumbling for the tiny tits. Just last week, eight Dalmatians, 3/4 of a lb., lined up like cord wood each like a birch tree. I promise to love more if they come, because in spite of cruelty and the stuffed railroad cars for the ovens, I am not what I expected. Not an Eichmann. The poison just didn't take. So I won't hang around in my hospital shift, repeating The Black Mass and all of it. I say Live, Live because of the sun, the dream, the excitable gift.

I’m passing the bar Where you first got in my car I’m not ashamed to admit That it’s you I won’t forget I saved your cigarettes and Bad habits I regret But the hours flew by like clouds Whenever I had you around Parachute lover Take me away From the plane that went crashing And the earth that’s in flames Saving you is saving me High above the redwood trees But down below I see shadows And parachute debris We're drifting like children Along for the ride Each time we find love Another parachute arrives Our madness will burn As bright as the sun And I’ll keep finding lovers But you were the one

Under the redwood tree my grave was laid, and I beguiled my true love to lie down. The stream of our kiss put a waterway around the world, where love like a refugee sailed in the last ship. My hair made a shroud, and kept the coyotes at bay while we wrote our cyphers with anatomy. The winds boomed triumph, our spines seemed overburdened, and our bones groaned like old trees, but a smile like a cobweb was fastened across the mouth of the cave of fate. Fear will be a terrible fox at my vitals under my tunic of behaviour. Oh, canary, sing out in the thunderstorm, prove your yellow pride. Give me a reason for courage or a way to be brave. But nothing tangible comes to rescue my besieged sanity, and I cannot decipher the code of the eucalyptus thumping on my roof. I am unnerved by the opponents of God, and God is out of earshot. I must spin good ghosts out of my hope to oppose the hordes at my window. If those who look in see me condescend to barricade the door, they will know too much and crowd in to overcome me. The parchment philosopher has no traffic with the night, and no conception of the price of love. With smoky circles of thought he tries to combat the fog, and with anagrams to defeat anatomy. I posture in vain with his weapons, even though I am balmed with his nicotine herbs. Moon, moon, rise in the sky to be a reminder of comfort and the hour when I was brave.

But there is one tree that for the footer of the mountain trails is voiceless; it speaks, no doubt, but it speaks only to the austere mountain heads, to the mindful wind and the watching stars. It speaks as men speak to one another and are not heard by the little ants crawling over their boots. This is the Big Tree, the Sequoia.

Pandas and rain forests are never mentioned when it comes to the millions of people taking joyrides in their Range Rovers. Rather, it's the little things we're strong-armed into conserving. At a chain coffee bar in San Francisco, I saw a sign near the cream counter that read NAPKINS COME FROM TREES - CONSERVE! In case you missed the first sign, there was a second one two feet away, reading YOU WASTE NAPKINS - YOU WASTE TREES!!! The cups, of course, are also made of paper, yet there's no mention of the mighty redwood when you order your four-dollar coffee. The guilt applies only to those things that are being given away for free.

Never stop growing in life. The world's tallest redwood trees were once little nuts, that kept on growing, regardless of weather, trials and tribulations.

John Hay, in The Immortal Wilderness, has written: 'There are occasions when you can hear the mysterious language of the Earth, in water, or coming through the trees, emanating from the mosses, seeping through the undercurrents of the soil, but you have to be willing to wait and receive.' Sometimes I hear it talking. The light of the sunflower was one language, but there are others more audible. Once, in the redwood forest, I heard a beat, something like a drum or a heart coming from the ground and trees and wind. That underground current stirred a kind of knowing inside me, a kinship and longing, a dream barely remembered that disappeared back to the body.... Tonight, I walk. I am watching the sky. I think of the people who came before me and how they knew the placement of the stars in the sky, watching the moving sun long and hard enough to witness how a certain angle of light touched a stone only once a year. Without written records, they knew the gods of every night, the small, fine details of the world around them and the immensity above them. Walking, I can almost hear the redwoods beating....It is a world of elemental attention, of all things working together, listening to what speaks in the blood. Whichever road I follow, I walk in the land of many gods, and they love and eat one another. Walking, I am listening to a deeper way. Suddenly all my ancestors are behind me. Be still, they say. Watch and listen. You are the result of the love of thousands.

A redwood tree doesn't take all of the soil's nutrients; it just takes what it needs to grow. A lion doesn't kill every gazelle, it just kills one. In fact, when the lion has fed, gazelles will go on grazing right in the lion's midst. Why? Certainly, the lion could pounce again, but it doesn't. Somehow, the lion naturally obeys this life-giving law of limits, a law that keeps nature in balance and keeps the delicate cycle upon which all of life depends intact.

If redwoods are the backbone of California, oaks are of England.

If nature has a soul, it feels like it must be bound up in the bark and sap of our forests. There, older, wiser sentinels stand in silent judgment. Not just the ancient sequoias and redwoods—even regular pine and birch trees outlast us. Every tree is a witness tree—they see how we spend our time on earth, what we take and what we give.

The redwoods, once seen, leave a mark or create a vision that stays with you always. No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not transferable. From them comes silence and awe. It's not only their unbelievable stature, nor the color which seems to shift and vary under your eyes, no, they are not like any trees we know, they are ambassadors from another time. They have the mystery of ferns that disappeared a million years ago into the coal of the carboniferous era. They carry their own light and shade. The vainest, most slap-happy and irreverent of men, in the presence of redwoods, goes under a spell of wonder and respect. Respect--that's the word. One feels the need to bow to unquestioned sovereigns. I have known these great ones since my earliest childhood, have lived among them, camped and slept against their warm monster bodies, and no amount of association has bred contempt in me.

But for most trees, height is all about getting more sun. A forest is an intensely competitive place, and sunlight is a scarce but critical resource. And even when you’re a redwood, the tallest of all tree species, you still have to worry about getting enough sun because you’re in a forest of other redwoods. Often a species’ most important competitor is itself. Thus the redwood is locked in an evolutionary arms race—or in this case, a “height race”—with itself. It grows tall because other redwoods are tall, and if it doesn’t throw most of its effort into growing upward as fast as possible, it will literally wither and die in the shadows of its rivals.

Life seems neither long nor short, and we take no more heed to save time or make haste than do the trees and stars. This is true freedom, a good practical sort of immortality.

... tree has had a stroke, and its top dies. A redwood can deal with a stroke. It simply grows a new top in a few centuries.

The world's biggest tree, the redwood tree was once a little nut that just kept growing regardless of weather.

Never stop growing. The world's tallest redwood trees were all once little nuts, that kept growing regardless of weather, trials or tribulations.

Whenever you see redwoods in the National Geographic, or fog, or watch Shamu on TV, you'll be seeing me. Whenever you smell pine and spruce and day-old socks, that's me. Whenever you hear wind in the tops of trees, that's me, and whenever you taste crab and wine and Brie, that's me, and whenever the wind blows your hat off or you get under a cold shower, that's me. Whenever you read about an earthquake, that's me, sure as gun's iron. Whenever you smell wet dog, that's Curtis and me, and whenever you see a Rattus rattus, that's Forrest, and I'm right behind him. Never see me again? You'll never not see me. And I'll never not see you . . .Didn't I say I'd always be your same stars? If you get to missing me, just look up.

Similarly, only once we let go of all we know, including all our self-centered concerns, and break free of the cocoons we spin around ourselves to shut out the world can we become the truly beautiful beings we are meant to be.

The Redwood Tree My father once told me a story about an old redwood tree—how she stood tall and proud—her sprawling limbs clothed in emerald green. With a smile, he described her as a mere sapling, sheltered by her elders and basking in the safety of the warm, dappled light. But as this tree grew taller, she found herself at the mercy of the cruel wind and the vicious rain. Together, they tore relentlessly at her pretty boughs, until she felt as though her heart would split in two. After a long, thoughtful pause, my father turned to me and said, “My daughter, one day the same thing will happen to you. And when that time comes, remember the redwood tree. Do not worry about the cruel wind or the vicious rain—but do as that tree did and just keep growing.

You can never stay angry too long in the bush though. At least, that's what I think. It's not that it's soothing or restful, because it's not. What it does for me is get inside my body, inside my blood, and take me over. I don't know that I can describe it any better than that. It takes me over and I become part of it and it becomes part of me and I'm not very important, or at least no more important than a tree or a rock or a spider abseiling down a long thread of cobweb. As I wandered around, on that hot afternoon, I didn't notice anything too amazing or beautiful or mindbogglingly spectacular. I can't actually remember noticing anything out of the ordinary: just the grey-green rocks and the olive-green leaves and the reddish soil with its teeming ants. The tattered ribbons of paperbark, the crackly dry cicada shell, the smooth furrow left in the dust by a passing snake. That's all there ever is really, most of the time. No rainforest with tropical butterflies, no palm trees or Californian redwoods, no leopards or iguanas or panda bears. Just the bush.

The coast redwood tree is an evergreen conifer and a member of the cypress family. It's scientific name is Sequoia sempervirens. No one knows exactly when or where the redwood entered the history of life on earth, though it is an ancient kind of tree, and has come down to our world as an inheritance out of deep time.

Mother’s estate—our estate—a thousand acres centered in a million more. Lawns the size of small prairies with grass so perfect it beckoned a body to lie on it, to nap on its soft perfection. Noble shade trees making sundials of the Earth, their shadows circling in stately procession; now mingling, now contracting to midday, finally stretching eastward with the dying of the day. Royal oak. Giant elms. Cottonwood and cypress and redwood and bonsai. Banyan trees lowering new trunks like smooth-sided columns in a temple roofed by sky. Willows lining carefully laid canals and haphazard streams, their hanging branches singing ancient dirges to the wind.

There are scrawny necks and fat necks, loose necks, crepey necks, banded necks, wrinkled necks, stringy necks, saggy necks, flabby necks, mottled necks. There are necks that are an amazing combination of all of the above. According to my dermatologist, the neck starts to go at forty-three, and that’s that. You can put makeup on your face and concealer under your eyes and dye on your hair, you can shoot collagen and Botox and Restylane into your wrinkles and creases, but short of surgery, there’s not a damn thing you can do about a neck. The neck is a dead giveaway. Our faces are lies and our necks are the truth. You have to cut open a redwood tree to see how old it is, but you wouldn’t have to if it had a neck.

Mysteriously, almost unaccountably, my family had ended up in the trees, sort of like the Swiss Family Robinson.

Love in any language, Straight from the heart, Pulls us all together, Never apart.

It was going against what I’d been learning here in Luna, that all living things have the right to be alive.

That’s why activists go in and try to slow down the logging. They want some trees to be left standing by the time the regulatory agencies show up or the courts give a ruling.

We who have grandly fill'd our time; With Nature's calm content, with tacit huge delight, We welcome what we wrought for through the past. - SONG OF THE REDWOOD-TREE

One hundred fifty years is not long in the reckoning of a hill. But to a man it's long enough. One hundred fifty years is a week end to a redwood tree, but to a man it's two full lifetimes. One hundred fifty years is a twinkle to a star, but to a man it's time enough to teach six generations what the meaning is of liberty, how to use it, when to fight for it.

The trees in the storm don’t try to stand up straight and tall and erect. They allow themselves to bend and be blown with the wind. They understand the power of letting go,” continued the voice. “Those trees and those branches that try too hard to stand up strong and straight are the ones that break. Now is not the time for you to be strong, Julia, or you, too, will break. Learn the power of the trees. Let it flow. Let it go. That is the way you are going to make it through this storm. And that is the way to make it through the storms of life.

As for the trees themselves, water that flows into a giant redwood through its roots takes two weeks or longer to reach the top of the tree, moving slowly upward through the tree’s sapwood.

I always nodded yes. Okay. Listening. Stopping. But I wasn’t listening, I wasn’t stopping. Because we were already running away again, me and my imagination. We were holding hands on the edge of the cliff by the North Sea, we were high, high up in a redwood tree, we were on a train to Paris, we were blue-lipped in the river trying to swim to India. Or we were just fucking running

I have had a lifelong association with these things. (Odd that the word 'trees' does not apply.) I can accept them and their power and their age because I was early exposed to them. ON the other hand, people lacking such experience begin to have a feeling of uneasiness here, of danger, of being shut in, enclosed and overwhelmed. It is not only the size of these redwoods but their strangeness that frightens them. And why not? For these are the last remaining members of a race that flourished over four continents as far back in geologic time as the upper Jurassic period. Fossils of these ancients have been found dating from the Cretaceous era while in the Eocene and Miocene they were spread over England and Europe and America. And then the glaciers moved down and wiped the Titans out beyond recovery. And only these few are left--a stunning memory of what the world was like once long ago. Can it be that we do not love to be reminded that we are very young and callow in a world that was old when we came into it? And could there be a strong resistance to the certainty that a living world will continue its stately way when we no longer inhabit it?

the other reason has to do with its twisted shape and its height: ninety-three feet, a runt compared to other old-growth redwoods. In other words, Old Survivor survived largely by appearing useless to loggers as a timber tree.

There are only two choices, the main road and the back road, and each one has its good points and bad points. Say you choose the main road and get to your appointment on time. You won’t think about your choice, will you? And if you go by the back road and get there in time, again, no sweat, and you’ll never give it another thought for the rest of your life. But here’s where it gets interesting. You take the main road, there’s a three-car pileup, traffic is stalled for more than an hour, and as you sit there in your car, the only thing on your mind will be the back road and why you didn’t go that way instead. You’ll curse yourself for making the wrong choice, and yet how do you really know it was the wrong choice? Can you see the back road? Do you know what’s happening on the back road? Has anyone told you that an enormous redwood tree has fallen across the back road and crushed a passing car, killing the driver of that car and holding up traffic for three and a half hours? Has anyone looked at his watch and told you that if you had taken the back road it would have been your car that was crushed and you who were killed? Or else: No tree fell, and taking the main road was the wrong choice. Or else: You took the back road, and the tree fell on the driver just in front of you, and as you sit in your car wishing you had taken the main road, you know nothing about the three-car pileup that would have made you miss your appointment anyway. Or else: There was no three-car pileup, and taking the back road was the wrong choice. What’s the point of all this, Archie? I’m saying you’ll never know if you made the wrong choice or not. You would need to have all the facts before you knew, and the only way to get all the facts is to be in two places at the same time—which is impossible.

The northern shore was gray, grim, and inhospitable, and Diana knew every inch of its secret landscape, its crags and caves, its tide pools teeming with limpets and anemones. It was a good place to be alone. The island seeks to please, her mother had told her. It was why Themyscira was forested by redwoods in some places and rubber trees in others; why you could spend an afternoon roaming the grasslands on a scoop-neck pony and the evening atop a camel, scaling a moonlit dragonback of sand dunes. They were all pieces of the lives the Amazons had led before they came to the island, little landscapes of the heart.

A temperate rain forest has a cool, moist, even climate, not too hot or cold. Redwoods flourish in fog, but they don't like salt air. They tend to appear in valleys that are just out of sight of the sea. In their relationship with the sea, redwoods are like cats that long to be stroked but are shy to the touch.

It’s warm as long as the sun does not set, in the shade cold returns. A strong sauna and then swimming in a pool surrounded by trees. Dark redwoods, transparent pale-leaved birches. In their delicate network, a sliver of the moon. I describe this for I have learned to doubt philosophy And the visible world is all that remains.

When we turned off Carmel Valley Road south onto Highway 1 and entered Big Sur, nature woke up and suddenly started doing the can-can. Everywhere I looked, the jagged mountains were tumbling into the sea, like rockslides frozen in free fall—still yet dramatic at the same time. We navigated a thin, winding ribbon of road hundreds of feet above the exploding surf. I rolled the window down, and heard sea lions barking and waves booming into sea caves below. The spicy aroma of sage mixed with sea salt wafted into the truck. We dipped down into forests where the air dropped ten degrees and the massive redwood trees clustered together in tribal circles, then we burst back into the sun again. I twisted my head in every direction, trying not to miss a thing.

Mushrooms are only a small part of fungal anatomy. A mushroom is just how a fungus has sex.” Maisie’s slim eyebrows arched high. “Oh, really,” she said. “It’s true. A single fungus in a forest like this can go on for miles, underground, wrapping itself around tree roots. The mushrooms are just its reproductive parts. Fungi are some of the largest living things on Earth. Each tendril is nearly microscopic, but put together they can weigh far more than any California redwood or blue whale.

When she felt more comfortable and no one was looking, Sadie turned away from the group. She sidled a little ways down the hillside, black sheep leaving the flock, before edging out of sight of the ropes course, the towering redwood trees, and the other girls from the wilderness camp. They were teenagers like her, the girls, all supposedly "troubled". Only unlike Sadie, they were wide-eyed and tragic, fragile, herdlike things, brimming with stories of Painful Childhoods about who'd touched them where or hit them or abandoned them and a million other sad sap exercise for why they did the Things They Did. Sadie couldn't be bothered to take it all in. Misery repulsed her. Self pity even more. She especially couldn't understand the counsellors and therapists who chose to work here. It made Sadie shudder to think about. If there was a special circle in hell for girls like her, and she suspected there might be, there was no doubt her eternity would be spent having to listen to other people's problems'.

Old growth plants then begin to take on a much different character than their younger offspring. There are states of being that only come into play with age, and with the extensive development of expanded neural fields; the neuronal structure in an ancient redwood or old growth Artemisia absinthium is different from that in younger plants . . . so are the memories and life experiences held within that neuronal structure. Plants become wise, too, as they age. We are not the only ones capable of it. You can literally feel the difference such maturity brings in encountering old growth trees— the young just don’t have it.

The morning after / my death” The morning after my death we will sit in cafés but I will not be there I will not be * There was the great death of birds the moon was consumed with fire the stars were visible until noon. Green was the forest drenched with shadows the roads were serpentine A redwood tree stood alone with its lean and lit body unable to follow the cars that went by with frenzy a tree is always an immutable traveller. The moon darkened at dawn the mountain quivered with anticipation and the ocean was double-shaded: the blue of its surface with the blue of flowers mingled in horizontal water trails there was a breeze to witness the hour * The sun darkened at the fifth hour of the day the beach was covered with conversations pebbles started to pour into holes and waves came in like horses. * The moon darkened on Christmas eve angels ate lemons in illuminated churches there was a blue rug planted with stars above our heads lemonade and war news competed for our attention our breath was warmer than the hills. * There was a great slaughter of rocks of spring leaves of creeks the stars showed fully the last king of the Mountain gave battle and got killed. We lay on the grass covered dried blood with our bodies green blades swayed between our teeth. * We went out to sea a bank of whales was heading South a young man among us a hero tried to straddle one of the sea creatures his body emerged as a muddy pool as mud we waved goodbye to his remnants happy not to have to bury him in the early hours of the day We got drunk in a barroom the small town of Fairfax had just gone to bed cherry trees were bending under the weight of their flowers: they were involved in a ceremonial dance to which no one had ever been invited. * I know flowers to be funeral companions they make poisons and venoms and eat abandoned stone walls I know flowers shine stronger than the sun their eclipse means the end of times but I love flowers for their treachery their fragile bodies grace my imagination’s avenues without their presence my mind would be an unmarked grave. * We met a great storm at sea looked back at the rocking cliffs the sand was going under black birds were leaving the storm ate friends and foes alike water turned into salt for my wounds. * Flowers end in frozen patterns artificial gardens cover the floors we get up close to midnight search with powerful lights the tiniest shrubs on the meadows A stream desperately is running to the ocean The Spring Flowers Own & The Manifestations of the Voyage (The Post-Apollo Press, 1990)

I KNEW THAT if I continued to debate politics and science—and stayed in the mind instead of the heart and the spirit—it would always be about one side versus the other. We all understand love, however; we all understand respect, we all understand dignity, and we all understand compassion up to a certain point. But how could I convince the loggers to transfer those feelings that they might have for a human being to the forest? And how could I get them to let go of their stereotypes of me? Because in their mind, I was a tree-hugging, granola-eating, dirty, dreadlocked hippie environmentalist. They always managed to say this word with such disgust and disdain!

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.

At a chain coffee bar in San Francisco, I saw a sign near the cream counter that read NAPKINS COME FROM TREES — CONSERVE! In case you missed the first sign, there was a second one two feet away, reading YOU WASTE NAPKINS — YOU WASTE TREES!!! The cups, of course, are also made of paper, yet there’s no mention of the mighty redwood when you order your four-dollar coffee. The guilt applies only to those things that are being given away for free. Were they to charge you ten cents per napkin, they would undoubtedly make them much thinner so you’d need to waste even more in order to fight back the piping hot geyser forever spouting from the little hole conveniently located in the lid of your cup.

The silence in the giant redwood forest near my house draws me...At eight in the morning, the great trees stand rooted in a silence so absolute that one's inmost self comes to rest. An aged silence. Some mornings I sleep through two alarms and awaken only after the first buses have arrived. I go anyway. There are hundreds of people in the woods before me. People speaking French, German, Spanish; people marveling to each other and calling to their children in Japanese, Swedish, Russian, and some languages I do not know. And children shrieking in the universal language of childhood. But the silence is always there, unchanged. It is as impervious to these passing sounds as the trees themselves.

Moyers: What happened to the mythic imagination as humans beings turned from the hunting of animals to the planting of seeds? Campbell: There is a dramatic and total transformation, not just of the myths but of the psyche itself, I think. You see, an animal is a total entity, he is within a skin. When you kill that animal, he's dead – that's the end of him. There is no such think as a self-contained individual in the vegetal world. You cut a plant, and another sprout comes. Pruning is helpful to a plant. The whole thing is just a continuing inbeingness. Another idea associated with the tropical forests is that out of rot comes life. I have seen wonderful redwood forests with great, huge stumps from enormous trees that were cut down decades ago. Out of them are coming these bright new little children who are part of the same plant. Also, if you cut off the limb of a plant, another one comes. Tear off the limb of an animal, and unless it is a certain kind of lizard, it doesn't grow again. So in the forest and planting cultures, there is sense of death as not death somehow, that death is required for new life. And the individual isn't quite an individual, he is a branch of a plant. Jese uses this image when he says, "I am the vine, and you are the branches." That vineyard image is a totally different one from the separate animals. When you have a planting culture, there is a fostering of thee plant that is going to be eaten.

Nikhilananda’s birthday. Maybe we’d Morris dance, naked, around the base of an old-growth California redwood, its branches lavishly festooned with the soiled hammocks and poop buckets of crunchy-granola tree sitters mentoring spotted owls in passive-resistance protest techniques. You get the picture. In place of Santa Claus, my mom and dad said Maya Angelou kept tabs on whether little children were naughty or nice. Dr. Angelou, they warned me, did her accounting on a long hemp scroll of names, and if I failed to turn my compost I’d be sent to bed with no algae. Me, I just wanted to know that someone wise and carbon neutral—Dr. Maya or Shirley Chisholm or Sean Penn—was paying attention. But none of that was really Christmas. And none of that Earth First! baloney helps out once you’re dead and you discover that the snake-handling,

Redwoods are power because their great size is unmatched by any other trees, because they are ancient—many of these very specimens dating back centuries before the birth of Jesus Christ—because their extraordinary bark, as thick as armor and high in tannin, makes them all but impervious to insects, disease, and fire. They are power because they endure while all around them dies; men and animals pass among them and pass forever away; birds alight in their high branches and seem freer than anything rooted in rock and soil, but eventually, in a sudden quietness of the heart, the birds swoon off the sturdy limbs and thump to the ground or plummet from the sky, and the trees still soar; on the shadowed floors of these groves, sun-shy ferns and rhododendrons flourish season after season, but their immortality is illusory, for they too die, and new generations of

Still, the alien biologist might be excused for lumping together the whole biosphere - all the retroviruses, mantas, foraminifera, mongongo trees, tetanus bacilli, hydras, diatoms, stromatolite-builders, sea slugs, flatworms, gazelles lichens, corals, spirochetes, banyans, cave ticks, least bitters, caracaras, tufted puffins, ragweed pollen, wold spiders, horseshoe crabs, black mambas, monarch butterflies, whiptail lizards, trypanosomes, birds of paradise, electric eels, wild parsnips, arctic terns, fireflies, titis, chrysanthemums, hammerhead sharks, rotifers, wallabies, malarial plasmodia, tapirs, aphids, water moccasins, morning glories, whooping cranes, komodo dragons, periwinkles millipede larvae, angler fish, jellyfish lungfish, yeast, giant redwoods, tardigrades, archaebacteria, sea lilies, lilies of the valley, humans bonobos, squid and humpback whales - as, simply, Earthlife. The arcane distinctions among these swarming variations on a common theme may be left to specialists or graduate students. The pretensions and conceits of this or that species can readily be ignored. There are, after-all, so many worlds about which an extraterrestrial biologist must know. It will be enough if a few salient and generic characteristics of life on yet another obscure planet are noted for the cavernous recesses of the galactic archives.

In fact, mostly what the Forest Service does is build roads. I am not kidding. There are 378,000 miles of roads in America’s national forests. That may seem a meaningless figure, but look at it this way—it is eight times the total mileage of America’s interstate highway system. It is the largest road system in the world in the control of a single body. The Forest Service has the second highest number of road engineers of any government institution on the planet. To say that these guys like to build roads barely hints at their level of dedication. Show them a stand of trees anywhere and they will regard it thoughtfully for a long while, and say at last, “You know, we could put a road here.” It is the avowed aim of the U.S. Forest Service to construct 580,000 miles of additional forest road by the middle of the next century. The reason the Forest Service builds these roads, quite apart from the deep pleasure of doing noisy things in the woods with big yellow machines, is to allow private timber companies to get to previously inaccessible stands of trees. Of the Forest Service’s 150 million acres of loggable land, about two-thirds is held in store for the future. The remaining one-third—49 million acres, or an area roughly twice the size of Ohio—is available for logging. It allows huge swathes of land to be clear-cut, including (to take one recent but heartbreaking example) 209 acres of thousand-year-old redwoods in Oregon’s Umpqua National Forest.

Toward an Organic Philosophy SPRING, COAST RANGE The glow of my campfire is dark red and flameless, The circle of white ash widens around it. I get up and walk off in the moonlight and each time I look back the red is deeper and the light smaller. Scorpio rises late with Mars caught in his claw; The moon has come before them, the light Like a choir of children in the young laurel trees. It is April; the shad, the hot headed fish, Climbs the rivers; there is trillium in the damp canyons; The foetid adder’s tongue lolls by the waterfall. There was a farm at this campsite once, it is almost gone now. There were sheep here after the farm, and fire Long ago burned the redwoods out of the gulch, The Douglas fir off the ridge; today the soil Is stony and incoherent, the small stones lie flat And plate the surface like scales. Twenty years ago the spreading gully Toppled the big oak over onto the house. Now there is nothing left but the foundations Hidden in poison oak, and above on the ridge, Six lonely, ominous fenceposts; The redwood beams of the barn make a footbridge Over the deep waterless creek bed; The hills are covered with wild oats Dry and white by midsummer. I walk in the random survivals of the orchard. In a patch of moonlight a mole Shakes his tunnel like an angry vein; Orion walks waist deep in the fog coming in from the ocean; Leo crouches under the zenith. There are tiny hard fruits already on the plum trees. The purity of the apple blossoms is incredible. As the wind dies down their fragrance Clusters around them like thick smoke. All the day they roared with bees, in the moonlight They are silent and immaculate. SPRING, SIERRA NEVADA Once more golden Scorpio glows over the col Above Deadman Canyon, orderly and brilliant, Like an inspiration in the brain of Archimedes. I have seen its light over the warm sea, Over the coconut beaches, phosphorescent and pulsing; And the living light in the water Shivering away from the swimming hand, Creeping against the lips, filling the floating hair. Here where the glaciers have been and the snow stays late, The stone is clean as light, the light steady as stone. The relationship of stone, ice and stars is systematic and enduring: Novelty emerges after centuries, a rock spalls from the cliffs, The glacier contracts and turns grayer, The stream cuts new sinuosities in the meadow, The sun moves through space and the earth with it, The stars change places. The snow has lasted longer this year, Than anyone can remember. The lowest meadow is a lake, The next two are snowfields, the pass is covered with snow, Only the steepest rocks are bare. Between the pass And the last meadow the snowfield gapes for a hundred feet, In a narrow blue chasm through which a waterfall drops, Spangled with sunset at the top, black and muscular Where it disappears again in the snow. The world is filled with hidden running water That pounds in the ears like ether; The granite needles rise from the snow, pale as steel; Above the copper mine the cliff is blood red, The white snow breaks at the edge of it; The sky comes close to my eyes like the blue eyes Of someone kissed in sleep. I descend to camp, To the young, sticky, wrinkled aspen leaves, To the first violets and wild cyclamen, And cook supper in the blue twilight. All night deer pass over the snow on sharp hooves, In the darkness their cold muzzles find the new grass At the edge of the snow.

He's like a little boy again now for the first time in years because he's like let out of school, no job, the bills paid, nothing to do but gratefully amuse me, his eyes are shining -- In fact ever since he's come out of San Quentin there's been something hauntedly boyish about him as tho prison walls had taken all the adult dark tenseness out of him -- In fact every evening after supper in the cell he shared with the quiet gunman he'd bent his serious head to a daily letter or at least every-other-day letter full of philosophical and religious musings to his mistress Billie... And when you're in bed in jail after lights out and you're not sleepy there's ample time to just remember the world and indeed savor its sweetness if any (altho it's always sweet to remember it in jail tho harder in prison, as Genet shows) with the result that he'd not only come to a chastisement of his bashing bitternesses (and of course it's always good to get away from alcohol and excessive smoking for two years) (and all that regular sleep) he was just like a kid again, but as I say that haunting kidlikeness I think all ex cons seem to have when they've just come out -- In seeking to severely penalize criminals society by putting the criminals away behind safe walls actually provide them with the means of greater strength for future atrocities glorious and otherwise -- "Well I'll be damned" he keeps saying as he sees those bluffs and cliffs and hanging vines and dead trees, "you mean to tell me you ben alone here for three weeks, why I wouldn't dare that... must be awful at night ... looka that old mule down there... man, dig the redwood country way back in... reminds me of old Colorady b'god when I used to steal a car every day and drive out to hills like this with a fresh little high school sumptin" -- "Yum Yum, " says Dave Wain emphatically turning that big goofy look to us from his driving wheel with his big mad feverish shining eyes full of yumyum and yabyum too --

Although he always talked about technology and Oracle with passion and intensity, he didn’t have the methodical relentlessness that made Bill Gates so formidable and feared. By his own admission, Ellison was not an obsessive grinder like Gates: “I am a sprinter. I rest, I sprint, I rest, I sprint again.” Ellison had a reputation for being easily bored by the process of running a business and often took time off, leaving the shop to senior colleagues. One of the reasons often trotted out for Oracle’s success in the 1990s was Ellison’s decision to hire Ray Lane, a senior executive credited with bringing order and discipline to the business, allowing Ellison just to do the vision thing and bunk off to sail his boats whenever he felt like it. But Lane had left Oracle nearly eighteen months before after falling out with Ellison. Since then, Ellison had taken full control of the company—how likely was it that he would he stay the course? One reason to be skeptical was that Ellison just seemed to have too many things going on in his life besides Oracle. During the afternoon, we took a break from discussing the future of computing to take a tour of what would be his new home—nearly a decade in the making, and at that time, still nearly three years from completion. In the hills of Woodside, California, framing a five-acre artificial lake, six wooden Japanese houses, perfect replicas of the fifteenth- and sixteenth-century originals in Kyoto, were under construction. The site also contained two full-size ornamental bridges, hundreds of boulders trucked in from the high Sierras and arranged according to Zen principles and an equal number of cherry trees jostling for attention next to towering redwoods. Ellison remarked: “If I’m remembered for anything, it’s more likely to be for this than Oracle.”3 In the evening, I noticed in Ellison’s dining room a scale model of what would become his second home: a graceful-looking 450-foot motor-yacht capable of circumnavigating the globe. Already the owner of two mega-yachts, bought secondhand and extensively modified (the 192-foot Ronin based in Sausalito and the 244-foot Katana, which was kept at Antibes in the South of France), Ellison wanted to create the perfect yacht. The key to achieving this had been his successful courtship of a seventy-two-year-old Englishman, Jon Bannenberg, recognized as the greatest designer of very big, privately-owned yachts. With a budget of $200 million—about the same as that for the Japanese imperial village in Woodside—it would be Bannenberg’s masterpiece. Bannenberg had committed himself to “handing over the keys” to Ellison in time for his summer holiday in 2003.

By the time the settlers and pioneers of America reached the West Coast, they had gone through many dramatic landscapes, but nothing quite prepared them for the size of the California redwoods. The giant trees led to many disputes, including the very name that should be applied to them. In 1853, British botanists proposed to name the trees Wellingtonia gigantea and called them “Wellingtonias” in honor of the Duke of Wellington, who defeated Napoleon at Waterloo. They justified the name on the grounds that the greatest tree in the world should bear the name of the greatest general in the world. Fortunately, the Americans resisted this choice and supported instead a native American name. Conservationists felt that so great a tree should not be named for a military general. They proposed instead the name Sequoia sempervirens, “evergreen Sequoia,” in honor of the man who invented a way of writing the Cherokee language and worked hard to promote literacy among his people. Both the coastal redwoods and the giant redwoods of the Sierra Nevada bear the genus name Sequoia, in honor of one of the greatest Indian intellectuals and leaders of the nineteenth century.

So laced and lush is this ecosystem that we walk our several miles through it today without making a footfall, only scuffs. Carol tells me that these Olympic rain forests and the rough coast to their west provide her the greatest calm of any place she has been. That she can walk in this rain forest and only be walking in this rain forest, moving in simple existence. Surprising, that, because neither of us thinks we are at all mystic. Perhaps, efficient dwellers we try to be, we simply admire the deft fit of life systems in the rain forest. The flow of growth out of growth, out of death . . . I do not quite ease off into beingness as she can. Memories and ideas leap to mind. I remember that Callenbach’s young foresters of Ecotopia would stop in the forest to hug a fir and murmur into its bark, brother tree. . . . This Hoh forest is not a gathering of brothers to humankind, but of elders. The dampness in the air, patches of fog snagged in the tree tops above, tells me another story out of memory, of having read of a visitor who rode through the California redwood forest in the first years of this century. He noted to his guide that the sun was dissipating the chilly fog from around them. No, said the guide looking to canyon walls of wood like these, no, “The trees is drinkin’ it. That’s what they live on mostly. When they git done breakfast you’ll git warm enough.” For a time, the river seduces me from the forest. This season, before the glacier melt begins to pour from the Olympic peaks, the water of the Hoh is a painfully lovely slate blue, a moving blade of delicate gloss. The boulder-stropped, the fog-polished Hoh. Question: why must rivers have names? Tentative answer: for the same reason gods do. These Peninsula rivers, their names a tumbled poem of several tongues—Quinault, Quillayute, Hoh, Bogashiel, Soleduck, Elwha, Dungeness, Gray Wolf—are as holy to me as anything I know. Forest again. For comparison’s sake I veer from the trail to take a look at the largest Sitka spruce along this valley bottom. The Park Service has honored it with a sign, giving the tree’s dimensions as sixteen feet four inches in diameter, one hundred eighty feet in height, but now the sign is propped against the prone body of the giant. Toppled, it lies like a huge extracted tunnel bore. Clambering onto its upper surface I find that the Sitka has burls, warts on the wood, bigger around than my body. For all that, I calculate that it is barely larger, if any, than the standard nineteenth-century target that Highpockets and his calendar crew are offhandedly devastating in my writing room. Evening, and west to Kalaloch through portals of sawed-through windfalls, to the campground next to the ocean. In fewer than fifty miles, mountain and ocean, arteried by this pulsing valley.

The wind in the trees played the massive redwoods like strings of a cello, filling the valley with the song of the ages past.

Getting It Right" Your ankles make me want to party, want to sit and beg and roll over under a pair of riding boots with your ankles hidden inside, sweating beneath the black tooled leather; they make me wish it was my birthday so I could blow out their candles, have them hung over my shoulders like two bags full of money. Your ankles are two monster-truck engines but smaller and lighter and sexier than a saucer with warm milk licking the outside edge; they make me want to sing, make me want to take them home and feed them pasta, I want to punish them for being bad and then hold them all night long and say I’m sorry, sugar, darling, it will never happen again, not in a million years. Your thighs make me quiet. Make me want to be hurled into the air like a cannonball and pulled down again like someone being pulled into a van. Your thighs are two boats burned out of redwood trees. I want to go sailing. Your thighs, the long breath of them under the blue denim of your high-end jeans, could starve me to death, could make me cry and cry. Your ass is a shopping mall at Christmas, a holy place, a hill I fell in love with once when I was falling in love with hills. Your ass is a string quartet, the northern lights tucked tightly into bed between a high-count-of-cotton sheets. Your back is the back of a river full of fish; I have my tackle and tackle box. You only have to say the word. Your back, a letter I have been writing for fifteen years, a smooth stone, a moan someone makes when his hair is pulled, your back like a warm tongue at rest, a tongue with a tab of acid on top; your spine is an alphabet, a ladder of celestial proportions. I am navigating the North and South of it. Your armpits are beehives, they make me want to spin wool, want to pour a glass of whiskey, your armpits dripping their honey, their heat, their inexhaustible love-making dark. I am bright yellow for them. I am always thinking about them, resting at your side or high in the air when I’m pulling off your shirt. Your arms of blue and ice with the blood running to make them believe in God. Your shoulders make me want to raise an arm and burn down the Capitol. They sing to each other underneath your turquoise slope-neck blouse. Each is a separate bowl of rice steaming and covered in soy sauce. Your neck is a skyscraper of erotic adult videos, a swan and a ballet and a throaty elevator made of light. Your neck is a scrim of wet silk that guides the dead into the hours of Heaven. It makes me want to die, your mouth, which is the mouth of everything worth saying. It’s abalone and coral reef. Your mouth, which opens like the legs of astronauts who disconnect their safety lines and ride their stars into the billion and one voting districts of the Milky Way. Darling, you’re my President; I want to get this right! Matthew Dickman, The New Yorker: Poems | August 29, 2011 Issue

The vineyard country, russet, reddish, carmine-brown in this season. A blue outline of hills above a fertile valley. It’s warm as long as the sun does not set, in the shade cold returns. A strong sauna and then swimming in a pool surrounded by trees. Dark redwoods, transparent pale-leaved birches. In their delicate network, a sliver of the moon. I describe this for I have learned to doubt philosophy And the visible world is all that remains.

He planted himself deep inside the fibers of my being, his roots interwoven with mine like two redwood trees, separate at first sight but one creature when you dug down deep.

The prisoner’s dilemma may seem to represent a rather specific and unusual scenario, but in fact it shows up all over the place in human and animal life. It turns out, for example, to underlie arms races in international relations, inaction on climate change, obstacles to trade, and even natural phenomena such as why trees grow so tall—giant redwoods could save terrific resources by only growing to, say, 50 feet (they usually grow to over 200), but in the competition for light, whoever grows that bit taller at the expense of the others will do better. In

According to my dermatologist, the neck starts to go at forty-three, and that's that...The neck is a dead give-away. Our faces are lies and our necks are the truth. You have to cut open a redwood tree to see how old it is, but you wouldn't have to if it had a neck.

A LITTLE AFTER FIVE, he went out to the Lexus SUV that he drove outside the Cities, and took off for Wisconsin. He was not in a mood for the scenic tour, so he went straight up I-35 to Highway 8, then east through Chisago City and Lindstrom and past Center City to Taylors Falls, then across the St. Croix into Wisconsin, north on Highway 82, off on River Road and finally, down a dirt lane lined with beech and oak trees to a redwood house perched on a bluff over the river. The front door was propped open with a river rock. The governor was sitting on a four-season porch, already closed in for the winter, that looked over the river valley. When Lucas banged on the screen door, he called, “Straight through to the porch. Get a beer out of the kitchen, or make yourself a drink.

The coast redwood is the tallest species of tree on earth. The tallest redwoods today are between 350 and close to 380 feet in height--thirty-five to thirty-eight stories tall. The crown of a tree is its radiant array of limbs and branches, covered with leaves. The crowns of the tallest redwoods can sometimes look like the plume of exhaust from a rocket taking off.

A hush came over the world, and it grew dark. There was no sunlight at the bottom of the redwood forest, only a dim, gray-green glow, like the light at the bottom of the sea. The air grew sweet, and carried a tang of lemons. They became aware of a vast forest canopy spreading over their heads.

The K-T impact had no evident long-lasting effect on the redwoods. It's possible that, after the impact, the redwoods sprouted up from the remains of their root systems, rising up in fairy rings in a ruined world ...

He looked to the left toward the edge of the forest where his mother’s grave was, a mound of rocks piled inside a circle of tall redwood trees. He’d only spent a few hours with Lightfeather before she’d died. He could still remember how the glow from the Hundred Year Star had made her white body look gold. While Sun Herd had argued to destroy him immediately, she’d ignored their threats and whispered secrets into Star’s ears until he fell asleep.

The coast redwood is a so-called relict species. It is a tiny remnant of a life form that once spread in splendor and power across the face of nature. The redwood has settled down in California to live near the sea, the way many retired people do.

The tallest redwoods are often slender, and so they aren't the largest ones. Even so, the most massive redwoods (the redwood titans) are among the worlds tallest trees anyway, and are more than thirty stories tall. Today, almost no tree of any species, anywhere, reach more than three hundred feet tall, except for the redwoods. The redwoods you can see in Muir Woods are nothing like the redwood titans that stand in the rain-forest valleys of the North Coast closer to Oregon. These are the dreadnoughts of tress, the blue whales of the plant kingdom.

ANDRÉ: . . . And when I was at Findhorn I met this extraordinary English tree expert who had devoted himself to saving trees, and he’d just got back from Washington lobbying to save the Redwoods. And he was eighty-four years old, and he always travels with a backpack because he never knows where he’s going to be tomorrow. And when I met him at Findhorn he said to me, “Where are you from?” And I said, “New York.” And he said, “Ah, New York, yes, that’s a very interesting place. Do you know a lot of New Yorkers who keep talking about the fact that they want to leave, but never do?” And I said, “Oh, yes.” And he said, “Why do you think they don’t leave?” And I gave him different banal theories. And he said, “Oh, I don’t think it’s that way at all.” He said, “I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves, and the inmates are the guards, and they have this pride in this thing that they’ve built—they’ve built their own prison—and so they exist in a state of schizophrenia where they are both guards and prisoners. And as a result they no longer have—having been lobotomized—the capacity to leave the prison they’ve made or even to see it as a prison.” And then he went into his pocket, and he took out a seed for a tree, and he said, “This is a pine tree.” And he put it in my hand. And he said, “Escape before it’s too late.

The burly woodsman who attaks the diminutive pine of the east must experience remorse, as would a strong man who made war upon a boy, but [the Redwood] is something to compel his respect; he must feel that in grappling with these monsters he is doing the work of a Hercules.

When he reached the yard, he found Edward with Addie and her dog under a redwood tree. She was lying on her back with her slippers resting on the trunk. Edward’s head was on her stomach, and the dog lay with its head on its paws. Her hair hung from its pins, and his eyes traced the silken strands looped on the grass. “My nymph,” he said. She jerked to an upright position and began tucking her hair back into its proper position. Though she sprang to her feet, bits of mud and grass clung to her skirt as a reminder of the unladylike position in which he’d found her. His smile broadened.

Love was a paltry, insignificant thing: There one day, gone another. But admiration, respect: From those could sprout great trees, towering redwoods, that could reach and reach and almost touch—

...where the preservation of a natural resource like the redwoods is concerned, that there is a common sense limit. I mean, if you've looked at a hundred thousand acres or so of trees — you know, a tree is a tree, how many more do you need to look at?

The woods are lovely, dark, and deep," Jess intoned as they took the path down from the parking lot. She had imagined finding a spot to read and meditate, leaving Emily to walk alone for half an hour, but the trees were so tall, and the light filtering down so green that she forgot her stratagem, and her troubles as well. The saplings here were three hundred years old, their bark still purple, their branches supple, foliage feathery in the gloaming. They rose up together with their ancestors, millennia-old redwoods outlasting storms, regenerating after lightning, sending forth new spires from blasted crowns. What did Hegel matter when it came to old-growth? Who cared about world-historical individuals? Not the salamanders or the moss. Not the redwoods, which were prehistoric. Potentially post-historic too.

this point in life, he said, there are three things you need to do. The first is to develop deeper friendships, and he had the perfect analogy for it. He urged us to look at the giant redwoods. They can grow to more than 300 feet tall, even though their roots sink less than six feet deep. How do they keep from falling over as they grow older? They reach out to the other trees around. Like the redwoods, Brooks suggested, we must develop a deeper network of friends and family, intertwining our roots so we stand tall together.

REDWOODS The first time I entered a forest I saw the trees, of course, huddled together in rings, thin veils of mist between their branches, some dead but still standing, or fallen thigh bones on the desiccated floor, but I also saw the great buttery platters of fungus climbing like stepping stones up their shaggy trunks: tzadee, tzadee, tzadee, each a different size: small to large or large to small, as if some rogue architect had been cocky enough to install them on the stunned trees’ northern sides, leading up to the balcony of their one ton boughs. I was here to investigate my place among them, these giants, 3000 years old, still here, living in my lifetime. I should have felt small, a mere human—petty in my clumsy boots, burrs in my socks, while these trees held a glossary of stars in their crowns, their heads up there in the croissant-shaped clouds, the wisdom of the ages flowing up through from root to branchlet— though rather I felt large inside my life, the sum of Jung’s archetypes: the self, the shadow, the anima, the persona of my personhood fully recognized and finally accepted, the nugget of my being, my shadow of plush light. I felt like I was climbing up those fungal discs toward something endless, beyond my birth and death, into my here-ness and now-ness, the scent and silence overwhelming me, seeping back into my pores. You had to have been there to know such joy, fear intermingled, my limbs tingling: ancient, mute.

poems are like trees in this way. They let us breathe together. In each line break, caesura, and stanza, there’s a place for us to breathe. Not unlike a redwood forest or a line of crepe myrtles in an otherwise cement landscape, poems can be a place to stop and remember that we too are living. W.S. Merwin wrote in his poem “Place”: “On the last day of the world, I would want to plant a tree.” I think I would add that I would also like to write a poem. Maybe I’d even write a poem about a tree?

Drummer Hart has never slowed down—from ancillary projects like an art exhibit of slices of bark from redwood trees he found on his morning walks around his Sonoma ranch to a deep plunge into astrophysics with Nobel laureate George Smoot, manipulating sounds recorded from deep in space. Using UC Berkeley’s supercomputer, Smoot and his team showed Hart waveforms millions of years old and he turned them into sound files—sonifications—to use in recordings. Hart was literally playing with the Big Bang.

I come to giant sad quiet valleys where you see 150 foot tall redwood trees with sometimes one little bird right on the topmost peaktwig sticking straight up—The bird balances up there surveying the fog and the great trees

The vineyard country, russet, reddish, carmine-brown in this season. A blue outline of hills above a fertile valley. It’s warm as long as the sun does not set, in the shade cold returns. A strong sauna and then swimming in a pool surrounded by trees. Dark redwoods, transparent pale-leaved birches. In their delicate network, a sliver of the moon. I describe this for I have learned to doubt philosophy And the visible world is all that remains.

Focus on the Forest — Forget the Trees Investors who evaluate Berkshire sometimes obsess on the details of our many and diverse businesses — our economic “trees,” so to speak. Analysis of that type can be mind-numbing, given that we own a vast array of specimens, ranging from twigs to redwoods. A few of our trees are diseased and unlikely to be around a decade from now. Many others, though, are destined to grow in size and beauty.

No one has ever successfully painted or photographed a redwood tree. The feeling they produce is not

Crossing the Golden Gate Bridge represents a transition, in the metaphysics of the region, there to be felt even by travelers unwary as Zoyd. When the busful of northbound hippies first caught sight of it, just at sundown as the fog was pouring in, the towers and cables ascending into pale gold otherworldly billows, you heard a lot of ''Wow,'' and ''Beautiful,'' though Zoyd only found it beautiful the way a firearm is, because of the bad dream unreleased inside it, in this case the brute simplicity of height, the finality of what swept below relentlessly out to sea. They rose into the strange gold smothering, visibility down to half a car length. . . . Trees. Zoyd must have dozed off. He woke to rain coming down in sheets, the smell of redwood trees in the rain through the open bus windows, tunnels of unbelievably tall straight red trees whose tops could not be seen pressing in to either side. . . . The storm lashed the night, dead trees on slow log trucks reared up in the high-beams shaggy and glistening, the highway was interrupted by flooding creeks and minor slides that often obliged the bus to creep around inches from the edge of Totality. Aislemates struck up conversations, joints appeared and were lit, guitars came down from overhead racks and harmonicas out of fringe bags, and soon there was a concert that went on all night, a retrospective of the times they'd come through more or less as a generation, the singing of rock and roll, folk, Motown, fifties oldies, and at last, for about an hour just before the watery green sunrise, one guitar and one harmonica, playing the blues.