(Roughly) Daily

Sumana Roy, with an arboreal meditation on time and rebellion against the straight line…

Have you seen the shape of a solitary tree on a mountaintop? There is no arrogance—it is not the monarch of all it surveys; its shape is that of survival, of fighting annihilation. If a morning hints at the DNA of the approaching day, might the shapes of young plants give us an intimation of what they will look like in advanced age? It must be this sense of amorphousness in the tree branches, going and growing, that makes me think of the shape of smoke, rising dark from the mouths of moving machines, marking the air as they travel, annotating their journey. . . . Are there knowledge systems in these shapes that might inform our understanding of art, creativity, knowledge systems, of time and history, of life and the living?

From the foothills I stare at the mountains and watch the evening grow; daylight suddenly ages, then dies. In the moment’s susurration, one could forget that the sun will return in the morning. Lights wink in the houses on the hills, spare sets of eyes for the dark—or like flowers budding, then blossoming. But that analogy doesn’t quite hold, because for those lights to be flowers, the houses need to be treelike. And our houses are not shaped like trees.

It is difficult to compare the shapes of trees with almost anything else. A flag flutters in the wind, and I can sense the longing of my mind to compare the character of that movement with those of leaves annotating the wind. But the flag mast is not a tree branch and no leaf moves like a flag, not even the banana leaf, whose behavior I’ve often mistaken for a Buddhist prayer flag. Sometimes when I watch leaves being tickled by the wind, I look at the tree nervously. It reminds me of a parent throwing their child up to the sky and catching her again, carrying her in so many ways, with risk as much as assurance. In this is a knowledge system of trust, how the branches hold the leaves and allow them to move without fear.

And what can a leaf’s shape tell us about its home? A palm’s leaf is like paper torn into strips that still manages to hold itself up. Where does such a shape come from? Does it offer protection from the wind, preempting what a strong sea breeze will eventually do? I have seen what such wind can do to billboards—puncturing them, tearing the faces of models and actors with unrelenting force, with a kind of strength that one can imagine only of bombs. There’s also the opposite: the shining solidity of a glossy jackfruit leaf confident even against the bullets of tropical rain. And their branches—hardy, patriarchal and solid, fortresslike, for they must hold the many fruits that cling like baby monkeys to their mothers. When I see the branches of different species, it is as if I can see their birth certificates. It is as if the shapes of the branches are a consequence of a negotiation, not only between the tree and the wind, but also between the tree second-guessing the behavior of the wind generally as well as the particularity of the wind in its home. What I see before me, then, is the shape of the creative process—the arrival of an idea in a leaf’s unfurling, followed by the acknowledgement of life’s exigencies and pauses in the influences of wind, water, and light. When it comes to branches, then, nothing beyond the search for sunlight is modular—everything is ad hoc, growth is provisional, spontaneity is not a choice but a compulsion. A tree’s diet is simple—water and light, but often inconsistent, and in its branches we see the shape of improvisation, of how artists and scientists adapt as circumstances change.

I am aware that I am seeking something beyond the botanical when I graze upon these branches. Is there a hidden history about form, about genre or about genealogy that I crave? In trees, I find a unit of time that is different from other kinds of living time—time is visible in the girth and growth of their branches, a history of ingestion manifest in the visual biography of its form. The difference in the ideas of time perhaps comes from our conditioning in stillness and mobility and, of course, from the directions of movement. Trees move, but usually—by which I mean visibly—northward; humans, mammals, and animals in our vicinity travel east or westward. In this, too, is the variety of our experiences of time.

I think of tree branches that, in search of light, have moved in the same direction. I will never know whether they wanted to meet—their crowns are, of course, shy, as the name of the phenomenon reminds us. The arrangement of branches might, for a moment, remind us of railway tracks, but there is no intimation in the latter of the death, the knowledge system we are all moving toward. Adulthood is the realization that time does not die with our death, and though one might be penniless and without possessions, one will always leave behind something: time, memories, an inheritance, for strangers to use. The absence of humans to the eye when looking out at the landscape from a train also does something—when humans do appear, they feel like numerals on a large clock, something upon which the eye may rest upon, but only for a moment, no longer. I don’t know of any tree whose branches are arranged around the trunk like the numbers on a dial. Sometimes I see a flight of stairs. They seem to disrupt the flow of time. I gradually begin to see that the uneven branches of trees, of varying lengths and thickness, do the same. Sometimes black smoke billows out of chimneys of brick kilns. In its sturdy curving, it has the arrogance of a statue—it stays in that position, as if it were holding its breath underwater, refusing to move. It looks ominous at first and comical in the end, like ambition does. How is its waywardness different from those of tree branches? Does it move like the branches of a tree, seeking something that it needs, or is it without hunger? The smoke will dissipate, of course, but the branches remain. But do they behave similarly in occupying the sky? The heads of the tea shrubs in the tea estates, growing beside the railway track—the youngest leaves picked by human hands keep the bushes flat as does the annual trimming in winter. In the difference of height and growth between the well-endowed shade trees and the tea plants is a quantifiable measure of a history of oppression.

Think of how branches get thinner as they move away from the earth. In this, they are not unlike air itself, in that the form of the trees becomes mirror images of roots. What does that do to our consciousness, for there is no resemblance between our feet and our head? Thin trees—young, planted recently—are straighter than older trees, in that they are like humans themselves, erect when younger, then slouching with age. Is Time erect like that? When does Time grow like grass? See how the branches touch the sky—poking, punctuating, even puncturing it. In these shapes also is some kind of constant self-revision, like a river that is constantly changing its course. Or at least that is what it seems like to an outsider species such as myself. In every knot, in every hole, in every bend, in every stop, in every pause, in every crest, in every depression, in every curl is a history of resistance offered by its surroundings. Form, then, is the result of a negotiation with the world, both of affiliation and disaffiliation, of support as much of antagonism. A history is revealed to us without any middleman or interpretation—a history that is so direct it surprises us, for we are not used to it. The shape of these branches—of history itself—is a rebellion against the straight line, against its autocracy. It reminds me that nothing can be reversed, that “undo” is a capitalist scam, that W. S. Merwin could not “unchop” a tree by assembling its branches together again…

“Ways of Treeing,” from @orionmagazine.bsky.social.

As Gary Snyder reminds us, “Nature is not a place to visit, it is home.”

* Herman Hesse

###

As we learn from our elders, we might send fruitful birthday greetings to Nehemiah Grew; he was born on this date in 1641. A plant anatomist and physiologist, he is known as the “Father of Plant Anatomy.” Grew trained, then practiced, as a physician; but his passion was plants. In 1665, he was elected a Fellow of the Royal Society on the strength of his paper The Anatomy of Vegetables begun. In 1682, he published what is considered his most important work, Anatomy of Plants…

It was divided into four books, Anatomy of Vegetables begun, Anatomy of Roots, Anatomy of Trunks, and Anatomy of Leaves, Flowers, Fruits and Seeds, and was illustrated with eighty-two plates, while appended to it were seven papers mostly of a chemical character.The Anatomy is especially notable for its descriptions of plant structure. He described nearly all the key differences of morphology of stem [or trunk] and root, showed that the flowers of the Asteraceae are built of multiple units, and correctly hypothesized that stamens are male organs. Anatomy of Plants also contains the first known microscopic description of pollen. – source

Linnaeus named a genus of trees (Grewia) in his honor.

source