Soil-babies huddle around my radiators and spread across my dining room table. Hopeful colonists rest beneath soft blankets of moist earth in strange plastic pods as if these seeds were the last hope of a dying planet. With tender care, I convey trays of pods from the nighttime safety of my heated home to glorious life-giving sunshine that heats my back porch by mid-afternoon. At night, when the sun dips and the temperatures plummet, I reverse the trip.
Large plastic trays contain pods of blue, black, white, and red. Some are repurposed from the purchase of annual plants. Some are recycled mushroom trays. Others are fancy containers from the times last year when my daughter and I waited hours for handcrafted orders of maki, sashimi, and unagi from Sky Sushi. Ah, those were the days. The before days. The days before the owners returned to China in December for winter break and have been unable to return to their business on the Keweenaw. The after days is why we need the hope of soil babies.
I can’t call these intrepid garden Argo Sailors, seedlings or seeds because they are neither. They are the stuff hope is made of, something between a wish and a reality. All I can see is soil and humid plastic film carefully protecting the germination. I await signs of emergence. Then, I will know I have a hook to hang heavier hope upon.
And what do I hope for?
Health and happiness, mostly. I hope scientists find a cure for a virus that feeds upon human organs, drowning the lungs and clotting the bloodstream. I hope that as scary as circumstances might get, we all learn new ways to be. I hope for learning from the stillness. I hope for gifts in the silence. I hope to hug again, to travel, and be unmasked from every mask I’ve ever worn. I hope to pet my neighbor’s new puppy, to gather friends around the campfire we’re building in the potager, to hunt for agates and run from black flies again. I hope to have guests and readings and workshops in my new home. I hope no one has to fear losing their home. I hope people find their passion in their work and community. I hope simply to live as fully as I can.
Planting is an act. Waiting is learning to be. Watching what grows is acceptance. Wondering why something didn’t grow is curiosity. All this drives me to garden and write and greet the birds that fly overhead to remind me that dinosaurs never went extinct. Peregrine falcon nails a pigeon, and I nod to the velociraptor and albertadromeus syntarsus who continue the dance between predator and prey. Even the greatest carnivore eventually feeds the soil, which grows the vegetation for the quarry. Life is so grand we can’t possibly understand it all — the brain, the emotions, the viruses, and that’s to say nothing of our human constructions, our artifices that make us believe we are in control.
We control nothing. We carry plants from one room to another, chasing life essences and hope.
To an extent, you can control your writing. But where does creativity come from? Why does the same prompt lead us all down divergent paths? You can spark creativity, you can be disciplined to pursue it, but you can’t control the burst. Writers write. I want some of it to be an uncontrollable mystery. The craft, however, we can control in the same way we can build machines and shelters and societies. Writing is a hope of sorts, too. I hope to convey a combination of feeling, meaning, and story, fulling understanding that the receiver will experience my craft and creativity from a different perspective. Yet that is where art rests like soil babies waiting to emerge.
Craft includes a cast of characters. In addition to the protagonist — the showy centerpiece of the garden — a host of secondary characters adds to who the protagonist is or isn’t, and carries the story to its parameters. Secondary characters should feel as real as bachelor buttons. They might not be the climbing purple Polish Spirit clematis, but they give it definition. Secondary characters have a mission. If they don’t push the character arc or progress the plot, pull ’em — they are weeds. You didn’t work hard to craft hope to give it over to apathy. Highlight beauty. Dare to enter the shadows. Make a path. Make secondary characters part of the team.
And if you need hope, find what nourishes — you, your writing, your world. My daughter shared this article about well being during our times. I wasn’t surprised to see “nourish” on the list.
May 7, 2020, prompt: In 99 words (no more, no less), write a story to nourish. The characters can nourish or be nourished. What else can be nourished? A tree? A setting? Does the sunset nourish the soul? Go where the prompt leads!
Respond by May 12, 2020. Use the comment section below to share, read, and be social. You may leave a link, pingback, or story in the comments. If you want to be published in the weekly collection, please use the form. Rules & Guidelines.
Apples by Charli Mills
Who’ll love the apple trees, Hester wondered as the wagon lurched forward. The youngest, she sat among her family’s meager belongings. A wagon-train of evicted miners trundled past shuttered copper mines.
When they married, Hester told Albert about the company houses and the community orchard. The county sold them the whole abandoned neighborhood on cheap terms. Albert flattened the other houses to grow potatoes. “Don’t harm the apple trees,” she said.
She nourished the trees into widowhood until they packed her up in a station wagon for the old-folks home. “The apples,” she whispered as the car drove away.