Even on the most beautiful days in the whole year – the days when summer is changing into fall – the crickets spread the rumor of sadness and change.
E.B. White, Charlotte’s Web, chapter XV, “The Crickets”
I hope I never lose my awe at the change of seasons, the year’s wheel turning from red to white to green to gold. This year, the whispers of autumn in the cool breezes and silver-dipped backs of leaves hurts me as much as it excites me. This summer was a dream, from the beauty of blue horizons and pink beach-roses to the amazing contributions to the Summer of Faerie project.
I’m ready to go to Scotland; ready for the long flight, the two-week quarantine, the world of books and music and art I will enter with the other students in my MLitt program. It will be good and hard and beautiful and strange. I have never lived in a foreign country; I have been dreaming of going to grad school for five years; I’m longing to dig deep into the richness of study; I’m nervous about the many things I don’t know, like what grocery store brands to buy or whether I can keep track of the dollar/pound conversion in my head.
I wrote this poem to capture some of the beauty of this summer and a little of the scattered research I’ve done of Faerie.
Dipping paddles into darkness, stirring
Pollen gold dust over pondering deep,
We tune our ears by cicadas’ whirring,
Hearing loons cry ah-oo, spell of noon’s sleep.
Dragons dream below us. We glide like ghosts
Over their ancient rest, tree-covered spines
Watching like guards of a distant outpost
Hungry, listening, waiting for mythic signs.
Staghorn sumac raises scarlet pledges,
Toasting endless sky, hailing dark green peaks.
Silver birches gleam at twilight’s edges.
We pause, haunted, as night’s veil speaks.
Golden moment: scent of pine in a glade
Swirling rich and sweet. Steep hills overgrown,
Tangled with roots. Heat shimmers; phantoms fade.
Did I dream it, or remember? Unknown.
Eelgrass rustles; breezes finger willows.
Fireflies blink and twirl in shadowed trees.
Green-Guards conduct the peepers’ twilight show,
Their song of sleeping kings and emerald seas.
Orange seaweed drifts up from the sea caves
Remnants of the Sea Folk’s midnight fun.
Splashes: kids jump off the bridge into waves.
Tide-Keepers giggle, scales glinting with sun.
Mourning doves cry oo-ah while the Dawn-Beasts
Breathe on windows of a morning, fogging glass.
Packing quickly, I watch the kindling east
Turning green to gold. The zenith has passed.
There seems to be an unwritten rule that artists should never explain the meaning of their work: they can either remain mysteriously silent or drop cryptic hints. I’m going to break that a little now to explain the middle section of the poem, “The dream” because there’s a mystery there. Since spring, I’ve had a recurring daydream of a golden wood, a pine hollow baked dry and amber by the sun, full of hills that roots break through. It’s warm, silent, peaceful, safe, beautiful, sad. There might be a castle nearby; I think it has a wishing well. It may be from a book or movie (Ever After, Bridge to Terebithia, The Book of Three, Prince Caspian) or somewhere I have traveled (New Hampshire, Cape Cod, Pennsylvania, Yosemite). I thought it might be in Acadia National Park, but I didn’t find it there in June.
As I included that dream in my poem, I read Rebecca D. Martin’s beautiful article, on the Rabbit Room, “The Stories of Others.” I liked it so much that I went back and reread her Rabbit Room article from February, “Significant Lights.” The fourth paragraph brought me to a full stop: she describes a childhood dream
… infused with a beauty so rich I can still sense it. In the dream, I walked through a golden wood, as haunting as autumn, as living as spring. There were elements other than the forest, too: a castle, the sense of mystery, a deep feeling of belonging and hope, and even sorrow—a pervasive sadness that I couldn’t keep staying here in this most perfect place. . . . sometimes I still lay on the edge of sleep longing for a glimpse of that forest again.
Is my golden wood a subconscious memory of Rebecca’s article? (Probably.) Or did we both dream of the same place, miles and years apart? I have no idea, but the second idea reminds me of something I read in Madeleine L’Engle’s book Walking on Water: L’Engle noticed that a certain image she used in her book A Swiftly Tilting Planet, a bonfire of roses, also appeared in Dante’s Divine Comedy, George MacDonald The Princess and Curdie, and T.S. Eliot Little Gidding.
Where did the fire of roses originate? I suspect that it goes back beyond human memory.
Madeleine L’Engle, Walking on Water, chapter 10, “The Journey Homeward”
Is the golden wood a whisper of Deep Magic? I want to believe that.
I think the golden wood will haunt me in the darkness of winter in Scotland (six hours of light per day). I think it will come back to me when I slop through slush in the streets or feel cold, wet winds slicing through my jacket. I hope that instead of making me grumpy and discontent (as I can be), that fragrant silence, delicious heat, and golden radiance warm me from the inside out.