long the Stony Kill, a couple of miles from here,
grows a stand of mature sycamores. Each one rises
like the family tree of some slow-to-develop but
ultimately fruitful lineage. Their stout lower boughs
reach outward, almost parallel to the stream, but the uppermost
branches and twigs—crowded together, gray and white—crook
straight to the sky. Not far away, near the crossroads in New
Concord, an immense black walnut rains down nuts in autumn,
staining the roadway with indelible ink. I remember the scent
of the green hulls from childhood. South of town someone has
nailed a sign to the trunk of a massive white oak. The sign says
“Christ Died for Our Sins.” Whenever I drive by I think of the
nail in the wood and the zeal that drove it home. I wonder too
what the sins of a white oak could possibly be.
In the woods near the house, I’ve found a chestnut oak
and any number of hornbeams and hop-hornbeams. This fall I
identified a butternut—a tree I’d never recognized before—along
the plow terrace above the creek. A colony of beeches can be
seen from the south windows, and the winter branches of a
gnarled black cherry—garroted for years by a chain supporting
a deer-stand—have been roughly scribbled against the western
skyline. I’ve even grown fond of the dead elm down by the barn.
Every day it instructs me in the distinctive, spreading shape of
the elm—“vase-like,” the tree books say, as though vases came
I could go on, but perhaps you see my point. More and
more, the most important landmarks in my mental topography
are trees. None of them are historic in the sense that history
took place beneath their boughs. None of them are champion
trees, tallest or thickest or oldest. Nothing of any significance
has happened to me beneath them—no picnics, trysts,
epiphanies—nor to anyone I know. It makes no difference. It’s
enough to admire them, to try to understand their lives and to
cultivate, so to speak, a deciduous philosophy. Recently, I came
across a sentence, written in 1832, by an Englishman named