Archive for 2008

The Fire Fiddler

From Gene Logsdon

Now comes the test of one’s homesteading stamina: January.  Might as well throw in February too except that by then the aconites and snowdrops have started to nose up through the ground or may even be blooming in sheltered places. But for now,  hang in there and read garden catalogs.

Another way to ride out the depths of winter is to spend time staring into the burning embers of a fireplace and lose self-awareness to the flames. That’s what I do, but losing self-awareness sounds terribly precious. What I am really doing is looking for more excuses to fiddle with the fire, that is, tweak the burning sticks of wood around so it flames brighter.  Fire fiddling is a more or less safe way to compensate for tendencies toward pyromania.

Something in the human psyche loves to play with fire. It probably is something we inherited, genetically or environmentally, from cave dwellers. They fiddled with fire for survival.

Even today, as the peak oil age arrives, fire fiddling can be once more a practical skill, even an art. Everyone knows that fireplaces are not efficient home heaters— most of the heat goes up the chimney. But a master fire fiddler can get twice as much heat out of a fireplace as a beginner.

The first condition of happy fire fiddling is to burn well-cured wood. If the wood in the fire sizzles on the ends like a frying egg, you may keep the fire going okay by mixing in a good dry stick occasionally, but fire fiddling will not be nearly as gratifying nor will be the amount of heat generated.  And the more uncured wood used, the more chance of little whiffs of smoke puffing out into the room before it gets dry enough to burn well. On the other hand, if the wood is cured through and through, rain water on its surface will dampen a cheery flame only briefly.

The second condition is good fireplace design. The proper ratio of hearth depth to front opening is important. So is the angle for the sides to take (a little inward) from front to back as well as the angle of the rear wall from the floor of the fireplace. It should slant inwards slightly as it goes up to the chimney opening.  The details of design have all been studied and debated for centuries. Needless to say, not everyone agrees  and we don’t have very many fireplace masons around anymore with a couple of centuries of experience under their belts. To be on the safe side, we purchased a steel insert for our fireplace, one whose design was in keeping with the best knowledge available as far as we could ascertain. Then we built the fireplace about twenty inches off the floor so it was easier to lean in and fiddle with the fire without bending over so far (and perhaps falling into the fire if one is also at the time fiddling with a martini).

The steel insert afforded us a handy way to increase the amount of heat going out into the room rather than up the chimney too. The stonemason who laid up the stone around the insert built ducts into the wall to draw in air from below the fireplace hearth and circulate it up and around and over the steel jacket. The heated air then passes back out into the room from ports above the fireplace. You can install circulating fans to move the air faster but they are not necessary at all. The heat pulls the air strongly enough through the system on its own. The fire not only throws out heat from the fireplace directly but indirectly through this circulation system.

To add a little more efficiency, our fireplace is in the finished basement of our home so that heat coming from it out into the basement rises up the nearby steps to the kitchen and dining area above. You can actually feel the warm air ascending the steps.

The art of fire fiddling involves the placement of the pieces of wood, or sticks as we call them, so that they generate as much flame as possible and as close to the front of the fireplace as possible without belching out any smoke. The first rule, if one must get formal about it all, is to keep a big backlog at the rear of the fire to throw the heat forward, and then to arrange the sticks in front of the backlog so that there is a bit of a crack between each of them. Then the flames rise cheerfully up through the cracks rather than sulk underneath because of being blocked by the sticks. Ideally, you keep the logs so placed, and then add new ones as the old ones burn up, so that a wall of flame from four to ten inches or thereabouts is always dancing above or in front of the wood. Some master fire fiddlers lay the sticks on top of each other at a sort of angle from each other so that there is plenty of room between the pieces,  or actually rack them up two one way and then two crisscrossed on top of the first two.

You realize the joy and purpose of fire fiddling when for the first time you pry with a poker two pieces of  wood apart and the sulking fire below them suddenly springs up with a sprightly flame in the crack you made.

Making sure there is space  between the sticks is most important when starting a fire— what was referred to in former times with the art of “laying a fire.”  I “lay my fires” on an iron grate that keeps the wood about three inches off the floor of the fireplace. First I lay in the big backlog behind the grate. Then a handful of twigs goes on the grate and then a small front log piece. Then I put two pieces of wood (split chunks no more than about five inches thick) on top of the twigs about an inch apart and parallel to each other. A third and fourth piece go on top of the first two but at slight angles to each other and to the bottom two so that there are spaces between them. Then I light the twigs from below the grate with a twist of paper. Sometimes two or three twists are necessary before the twigs start.

A banker friend of mine who is an avid fire fiddler, says that if you are short of paper and twigs with which to start fires, good, cheap substitutes right now are bank notes and stock certificates.
~
See also Gene’s Easy Way To Start A Grove Of Trees
~~
Gene and Carol Logsdon have a small-scale experimental farm in Wyandot County, Ohio.
Gene is author of
The Mother of All Arts: Agrarianism and the Creative Impulse (Culture of the Land),
The Last of the Husbandmen: A Novel of Farming Life, and All Flesh Is Grass: Pleasures & Promises Of Pasture Farming
Excerpted from At Nature’s Pace: Farming and the American Dream 1994
Image Credit: Fireplace © Luckynick | Dreamstime.com
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The Straight Poop on Compost

From Jeff Cox

The Earth that’s nature’s mother is her tomb—
That which is her burying grave, that is her wom
b.
–William Shakespeare
Romeo and Juliet

Of course Shakespeare said it most poetically and best, over 400 years ago. Compost is the source and destiny of life. It’s the seedbed from which healthy plants grow and it’s the decayed remnants of those plants that support the next generation of garden goodies.
Here’s the secret of all good gardens: the garden is only as good as the soil that’s in it. And good garden soil has as much compost in it as possible.

There are really only two ways you can get good artisanal compost at home—make it yourself or let worms make it for you. I’ve done both. Let’s start with making it yourself.

Think of compost as the end product of a furnace. Green and brown vegetable waste such as leaves, kitchen vegetable trimmings, stalks, and weeds (that haven’t gone to seed), are the stuff to be burned. Animal wastes, like manure, are the fuel to ignite them. The proper proportion is three parts vegetable matter to one part animal manure.

Poultry manure gives the quickest, hottest start to the process, but any manure will do. Pig manure is great. Bedding from goat sheds, rabbit hutches, cow sheds, and horse barns are also good. Or go to your garden center and buy sacks of dried animal manure. You’ll find them for sale there.

Build your compost pile on a five-foot by five-foot square place on clean ground. Put down about 10 inches of vegetable waste. Any kind will do, especially green grass clippings, hay, straw, leaves, or whatever you have. Cover this layer with a couple of inches of manure. Wet these layers with a garden hose so they’re good and wet and build another, similar layer on top of them. Wet the second layer. Keep adding layers and wetting them until the pile is about four feet high. Cover it with a tarp. After two weeks, remove the tarp and, using a pitchfork, make downward strokes through the pile and turn the forkfuls onto the bare soil next to the pile. After you’ve turned the whole pile, it should be similar but slightly smaller in size than the original pile, and probably more round than the original. Make sure it’s moist (but not sopping wet), cover it again, and repeat this process every two weeks two more times. You will then have finished compost ready to be used in the garden as fertilizer and soil conditioner in one—and guaranteed to grow great crops of vegetables.

Or let the worms do the work for you. I have two worm bins. You’ll need to find a source of red wiggler worms. These aren’t earthworms—although they’re related. They are garbage chomping worms that will eat their way through your kitchen garbage quickly and efficiently, leaving behind worm castings that are seven times richer in plant nutrients than compost alone. They eat all my kitchen garbage except for citrus rinds, anything in the onion family, and meat or meat products. They are my guys. What can I say? I dump my kitchen scraps in there and at the end of the process, which takes a few months, I have the richest compost in the world.

Having made compost the hard way, and by using worms, I highly recommend the worm route. They’re not particularly cute, but they are efficient and the end result is a wonderful payoff. You should see how plants respond to worm compost! For full details on how to set up a worm composting system, get a copy of Worms Eat My Garbage by Mary Appelhof. Check your local independent bookstore.

The bottom line is that your garden will be no better than the quality of your soil. And your soil will be no better than the compost you amend it with. Whether you make compost yourself or hire worms to do it, it is at the heart of the organic method.
~
See also Jeff’s What’s the Right Oil for Kitchen Use?
~~
Jeff Cox is author of The Organic Cook’s Bible and The Organic Food Shopper’s Guide, and numerous other cooking, gardening, and wine books, and lives in Sonoma County, California.
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More Kids in the Kitchen (with Organic Recipes)

From Lisa Barnes

When engaging kids in kitchen and cooking activities you may want to serve them something special like a festive hot drink or a snack of granola or trail mix.  It’s one more reason to stay and help, and also won’t tempt them to eat or “sample” too much of what you’re making.  The drink recipe below is great for all ages and takes the chill out of a cold and rainy afternoon.

Of course there’s the usual helping decorate cookies (see last week’s Little Helpers in the Holiday Kitchen) which kids are always up for.  But there are also other tasks that don’t involve desserts.  Below is a recipe for a unique way to prepare and enjoy brussels sprouts that my kids love to make and eat.

Organic Calientito
Calientito means little hot one and this drink is a spiced cider made with spices and fruit. You can use just about any fruit and fruit juice combination here. This is good for the kids at a party when serving adults mulled wine. The name sounds appropriate for my feisty daughter.

Makes 5 cups; 5 servings

2 cups organic unfiltered apple juice
2 cups organic pomegranate juice
1 cup water
1 cinnamon stick
½ cup orange segments
½ cup chopped pear
1 tablespoon organic raisins
1 teaspoon pure vanilla extract

In a large saucepan, combine all ingredients and simmer over medium heat for 15 to 20 minutes. Discard cinnamon stick, Serve hot or wait to cool for younger, sensitive mouths. If serving to younger children, strain before serving to prevent choking.

Leaf Us Alone Brussels Sprouts
Although they are one of my favorites, I realize Brussels sprouts are not welcome by many. I think they get a bad rap because they are usually boiled, bland, and still rock hard in the center. Peeling the leaves and discarding the center core, makes for an entirely different taste and texture. And yes, you and your kids may even have a new green favorite. Note this takes time and patience, but little hands make great peelers.

Makes 6 servings

1 pound organic Brussels sprouts
¼ cup extra-virgin olive oil
1 teaspoon freshly squeezed lemon juice
1/8 teaspoon salt
1/8 teaspoon freshly ground black pepper

Preheat oven to 375 degrees F. Line a jelly roll pan with aluminum foil.

Cut off bottom stem or core of each sprout. Carefully peel away the leaves until it becomes too hard to peel. Cut off bottom core again and peel more layers. Continue cutting and peeling until it is too difficult to peel apart.

Place leaves in a large mixing bowl. Drizzle with olive oil and lemon juice and stir until all leaves are coated. Sprinkle with salt and pepper and stir again.

Spread leaves onto prepared baking pan in a single layer. Roast for 10 to 12 minutes, until leaves are cooked and start to crisp with golden edges.

Kids Korner
I brought these to the table to peel while my children were having a snack. It must have looked interesting as both my four year old and 18 month old starting peeling, too. I told them they were Brussels Buddies. My son just kept telling his dad “We’re only eating the skins.”
~
See also Lisa’s Why Organic For Kids?
~~
Lisa Barnes is author of The Petit Appetit Cookbook: Easy, Organic Recipes to Nurture Your Baby and Toddler, Williams-Sonoma: Cooking For Baby, and lives in Sausalito, California.
Image Credit: © Reno12 | Dreamstime.com
OrganicToBe.org | OrganicToGo.com

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The Barn Raising

From Gene Logsdon (1983)

The summer tornado that touched down in Holmes County left a path of destruction cut as cleanly into the landscape as a swath mown through the middle of a hayfield. The wind plucked up giant oaks, tulip poplars, ashes, and maples and laid them down in crisscrossed, splintered chaos through the Amish woodland. With the same nicety for borderline definition, the tornado sliced through Amish farmsteads, capriciously reducing barns to kindling while ignoring buggy sheds, chicken coops, corncribs, and houses close by. In the twenty-minute dance that the tornado performed before exiting into the wings of the sky as abruptly as it had come, it destroyed at least fifteen acres of mature forest a hundred years or more in the growing, and four barns that represented the collected architectural wisdom of several centuries of rural tradition.

But what followed in the wake of the tornado during the next three weeks was just as awesome as the wind itself. In that time—three weeks—the forest devastation was sawed into lumber and transformed into four big new barns. No massive effort of bulldozers, cranes, semi-trucks, or the National Guard was involved. The surrounding Amish community rolled up its sleeves, hitched up its horses and did it all. Nor were the barns the quick-fix modern structures of sheet metal hung on posts stuck in the ground. They were massive three-story affairs of post-and-beam framing, held together with hundreds of hand-hewn mortises and tenons.

A building contractor, walking through the last of the barns to be completed, could only shake his head in disbelief. Even with a beefed-up crew, it would have taken him most of the summer to build this barn alone and it would have cost the farmer $100,000, if in fact he could have found such huge girder beams at any price.

The Amish farmer who was the recipient of this new barn smiled. The structure, complete with donated hay, grain, and animals to replace all that was destroyed by the storm, cost him “about thirty thousand dollars, out-of-pocket money”—most of that funded by his Amish Church’s own internal insurance arrangement. “We give each other our labor,” he said. “That’s our way. In the giving, nothing is lost, though, and much is gained. We enjoy barn raisings. So many come to work that no one has to work very hard. And we get in a good visit.”

The outsider listened, dumbfounded. The barn raising had already shaken his faith in the religion of Modern Progress in which he had been raised. He had come to see a folksy rural skill of the nineteenth century and, instead, witnessed a practical example of how to survive rather elegantly in the modern world.

The first day, the Amish installed the girder posts, girders, sills, joists, and flooring over the lower level where the livestock would be housed. The oak girders were sixteen inches square and fourteen feet long, hoisted up on the girder posts by human muscle heaving in perfect unison. The joists, half the size of the girders they rested on, were mortised into the sill beams over the foundation. Floorboards were laid down over the joists. Then the Amish carpenters installed the horse stalls, cow stanchions, calf pens, bullpens, pigpens, mangers, feed boxes, hay and straw chutes, all with so lavish a use of wood as to make a cost-conscious modern builder weep.

While this work was in progress, the most skilled carpenters were sawing to size the timbers that would become the post-and-beam skeleton of the barn, then marking and cutting the mortises and tenons by which the posts and beams would be put together into “bents.” (A bent is the basic structural unit of a post-and-beam barn. It consists of at least two vertical posts connected by two horizontal beams, with additional braces notched in at each corner for greater strength and rigidity.) The mortise holes were first bored round with brace and bit, then squared to size with mortise chisels and corner chisels, the work moving along rapidly. All the while there was steady conversation about the Yoders’ new baby, the price of horses at the Kidtron auction, the possibility that the Stolfuss family might not make it from Indiana to the raising in the morning.

“The raising draws all the attention,” one of the carpenters told a watching outsider. “But this is where the real work is done, measuring and cutting the joints accurately. The raising is just putting pieces of a puzzle together.”

The procedure for joining timbers properly has changed little for three centuries. A hole is bored through both mortise and tenon and a wooden pin, of white oak or black locust, is driven through the hole to lock the two beams together. The pins, before use, are dried in a little makeshift kiln kept fired nearby. Once it is driven into a joint, the dry pin swells slightly in normally humid air, while the greenwood beams dry and shrink slightly over time. The resulting bond is so tight that, even after a century, the pins will sometimes be impossible to drive out. For joining wooden structural members, no method has improved upon this classic mortised, tenoned, pinned joint.

There was no detailed plan of the barn construction, although the building was large and complex. “The blueprints are right up here,” a carpenter said, pointing to his head. “Not so difficult as you would think. There’s a standard way these barns go together and the overall design does not change much from farm to farm. The size of the barn determines the number and dimensions of the bents, and the dimensions of the bents rule the dimensions of the posts and beams. It was all figured out long ago.”

By six-thirty the next morning, a traffic jam of buggies clogged the country road to the barn raising. The main bents were all laid out in proper order on the barn floor, ready for raising. Every Amish male who could swing one carried a hammer, and they stood around in expectant little knots talking quietly as the sun poked up over the cornfields. In the house rose the sound of female voices, the warmth of their chatter alone enough to start the great pots of food to cooking. “You mean to tell me there will be a barn standing here before the sun goes down?” a visitor asked in disbelief. “Oh, yes,” one of the carpenters replied. “Fact is, you’ll be able to put hay in it by noon.” The visitor laughed, thinking he was being teased.

At precisely 7:00 a.m., the head carpenter, or “boss of the raising,” as he is called, shouted in German the traditional order to begin, and without fanfare, seemingly with great casualness, some twenty bearded farmers poled the first bent into upright position, while twenty more held it with ropes from falling on over the edge of the foundation. Just as unceremoniously, twenty more workers quickly poled the second bent up and immediately the more agile of the young men climbed up the beams like monkeys, jiggling and fitting the connecting beams into their proper mortises, and driving in the locking pins. The barn raising was under way.

The casualness was deceptive. “I couldn’t sleep a wink last night,” the boss of the raising admitted later. An older man nodded understandingly. “Ja. You know I had to quit bossing on doctor’s orders. Too hard on my blood pressure.”

What appeared at first as a rather distracted and unplanned bustling about on the part of several hundred workers was, in fact, an operation being run with almost military precision. Under the boss of the raising were two assistant bosses, and under them was a group of men recognized for their skills in particular departments of barn construction. Each of them headed up a crew, while the majority of the workers simply joined a crew according to the type of work they felt most comfortable doing, or where they saw another hand was needed. Skill and sometimes age determined the choice. Nimble, younger men worked high in the framing, fitting the beams together. Older men mortised and built doors. Strong men hoisted up rafters and beams. Little boys gathered up waste wood and piled it out of the way. Besides the many crews of polers, siding nailers, roofers, and rafterers, there was a special group framing doorways and windows, another soldering and hanging spouting, another putting together a new hay track out of the wreckage of the old one, to be hung later high under the roof peak across the haylofts.

All this work went on simultaneously at various sections of the barn. Yet few orders were given. The men knew what to do. The boss of the raising and his assistants and crew captains merely orchestrated the flow of work, like band directors leading skilled musicians. The barn grew, organically, in one cacophonous symphony of shining saw and pounding hammer.

One worker was using a skill saw powered by a gasoline motor. Sometimes the motor would not start, and he would glare at it. When it did start, he grimaced at the noise and smoke it produced, clearly uncomfortable with this rather un-Amish tool. Why, he was asked, did the Amish go to such great lengths to avoid electricity when the gas-powered replacement seemed religiously just as repugnant? The farmer pushed his hat back and toed the saw, now lying on the ground. “The Bible says we must not be yoked to the world,” he explained. “The electric, it yokes you. This gas motor—I can take it or leave it. And to tell the truth, right now I’d just as soon leave it.”

Another bystander who heard the question wanted to help answer it. His mother was originally Amish, he said, and was shunned by Amish society when she married an outsider. “They even had a funeral service for her. Her parents never spoke to her again.” But he was not bitter about that, he said. He respected the Amish. “Electricity is a yoke, you know. They think if they let it in their houses, the temptation would be overwhelming to get all the gadgets electricity encourages, like the rest of us do.”

The issue reminded him of an experience he had when he was younger. “I used to work with my Amish kinfolk. I helped in the threshing. The bishop had a big lug-wheeled steam engine to run the thresher, and every time he drove it to another farm, those steel lugs would tear up the road and the county commissoners would raise hell and send him a bill. One day when I arrived at the threshing, there sat the steam engine with the lugs removed, replaced by rubber treading over the steel wheels. I always kidded my kinfolk about their ways, so I said, ‘Heavens! Rubber on your wheels, Bishop! God’s gonna getcha now.’ He laughed, but took it kind of serious, too. ‘Well, we prayed over the matter and studied it a long time,’ he explained. ‘We finally decided that it was not the rubber itself God was against, but riding on air. Only angels should ride on air!’”

Around the edges of the little army of Amish workers gathered the outsiders—the “English”—most of them brandishing cameras. A television crew set up to record a scene to lighten the evening news.

“Unreal,” the photographers kept murmuring as they clicked their camera shutters. The Amish elders stayed busy asking the English not to take pictures. The English stayed busy trying to sneak a few anyway.

“But what is wrong with taking a few photographs?” some of the bolder photographers protested.

“A picture leads to pride,” the elders tried to explain. “It is against our religion.”

The Amish and the English engaged in a staring standoff then, exuding mutual bewilderment. The English could not understand a religion that viewed images of reality with suspicion. The Amish could not understand a religion for which the image was the reality.

The head carpenter’s noon prediction was wrong. The barn was ready for hay by eleven, an hour ahead of schedule. He nodded with delight when the English visitor who had laughed at his prediction apologized. “We’ll be finished by three,” he said, and this time the outsider did not laugh.

The speed of the raising was not attributable just to the large number of workers. A good third of them were standing around talking or eating at any given time. The secret was that the men not only knew what they were doing without being told, but they always knew what to do next. The work flowed. The workers were extremely “handy,” a word the head carpenter liked to use. Because of their lifestyle, the Amish knew how to use their hands, their whole bodies, in physical work. They could perform physical tasks in less than half the time and energy it might take a typical office worker, or even a typical blue-collar worker trained to do only one job well. Watching the Amish workers, one observer said he no longer believed it necessarily took one hundred thousand slaves twenty years to build the Great Pyramid, even if it was 482 feet tall and 775 feet square. With a bit of practice, a hundred thousand Amishmen could have built it in less than five years, he decided.

In addition to individual handiness, the Amish farmers were taught by their tradition how to work efficiently together. At the tedious task of nailing on the hundreds of siding boards, for example, there was no eager elbowing for room on the wall, each man intent upon seeing how many boards he individually could nail down. Instead, crews of older men, away from the barn, marked each board with a chalk line indicating the place where the board crossed the beam it would be nailed to. Then these men started nails along the chalk line. Other men quickly carried away these boards, invariably three at a time, and passed them up to younger men clinging to the beam frames. They, in turn—one above, one below—slapped the boards in place with one hand and drove the preset nails in with a hammer in the other hand, the siding going on in almost a continuous wave, as if it were being slowly unrolled.

By three o’clock, the barn was finished, even to the hanging of the doors. The workers hitched up their buggies and went home to tend to their livestock. By 7:00 p.m. they had all returned, this time with wagons laden with hay and grain, pigs in crates, horses and cows in tow on ropes, to fill the barn with the feed and animals the tornado had taken away. When that work was completed, more food was served amid convivial rejoicing—as close to a party-like celebration as the Amish ever come.

Two English farmers, leaving the party to which they had been invited, walked silently to their car. The summer night rolled quietly over Holmes County on the wings of fireflies. One of the farmers finally spoke. “Makes you wonder if some of them folks might not consider praying for a tornado once and a while.”
~
See also Gene’s Oxen Power for Family Farms
~~
Gene and Carol Logsdon have a small-scale experimental farm in Wyandot County, Ohio.
Gene is author of
The Mother of All Arts: Agrarianism and the Creative Impulse (Culture of the Land),
The Last of the Husbandmen: A Novel of Farming Life, and All Flesh Is Grass: Pleasures & Promises Of Pasture Farming
Excerpted from At Nature’s Pace: Farming and the American Dream 1994
Illustration: Barbara Field
OrganicToBe.org | OrganicToGo.com
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Solstice Renewal

From Jeff Cox

After holding my six week old granddaughter in my arms this afternoon, I had a revelation about Christmas. All my life, I thought the celebration was about the arrival of the redeemer in the form of a particular baby 2,000 years ago. But today I realized that there’s also a larger context to the Christmas story.

Looking at the sleeping baby in my arms, I saw that every baby has the potential to be a redeemer. Every newborn could grow to become a savior. Each new baby is a blank slate on which may be written a deep and meaningful story. Every baby should have three kings come to worship him or her, and give that baby precious gifts. Who knows who that little person is, or will become? Every newborn is a renewal of the pledge of life: that we will grow stronger and better and more valuable than ever before. And all that hope is wrapped tightly in the body and soul of a newborn babe.

And then I thought about the new year, which occurs just before Christmas when the winter solstice is passed and the sun begins its return toward the northern hemisphere. The last dying of the autumn light is the exact moment when the new year is born. There is no death, because the moment of death is the moment of rebirth.

Last year’s hay and straw, its flowers and fruits, are tumbled and reaped. Only the roots beneath the soil keep the flame of life going, and as soon as the last rose of summer fades, the buds on the bare rose canes start to look plump, and it won’t be long before they burst forth into new growth and open new flowers for us to enjoy.

Winter is the sleep the world takes before it wakes to a warming sun. The people who grow organic food know this cycle intimately. They prepare the soil in fall by covering it with the decayed remnants of last summer’s growth. Last summer’s stalks and sticks and leaves and roots die, but in the hot fires of the compost pile, they are transformed into the nutrient-rich seedbed from which next summer’s foodstuffs grow.

How reassuring all this is for us poor folk toiling our lives through the seasons of the years. We come, we work our days away, and we go. But what we leave behind is a structure on which the future will be built. Lives end, but lives begin. Our face recedes into the past, but the faces of the future wake into the adventure of life. And they carry something of our visage into the fray.

We can see this cycling surge of life in the organic farm, where life is cherished, nutrients are paid ahead, and hope is the coin of the realm. All this, in the serene face of a small baby held gently in my loving arms.
~~
Jeff Cox is author of The Organic Cook’s Bible and The Organic Food Shopper’s Guide, and numerous other cooking, gardening, and wine books, and lives in Sonoma County, California.
Image Credit: © Drbouz | Dreamstime.com
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