The Marginalian
The Marginalian

Nick Cave on Music, Mystery, and the Relationship Between Vulnerability and Freedom

“There is more going on than we can see or understand, and we need to find a way to lean into the mystery of things…. and recognise the evident value in doing that, and summon the courage it requires to not always shrink back into the known mind.”

Nick Cave on Music, Mystery, and the Relationship Between Vulnerability and Freedom

“Whatever inspiration is,” the Polish poet Wisława Szymborska observed in her superb Nobel Prize acceptance speech, “it’s born from a continuous ‘I don’t know.’” And yet, with our reflex for teleological thinking — that childish grab at “I know!” — we habitually cut ourselves off from the mystery that houses the most creative, and therefore the most vulnerable and alive, part of our own souls, forgetting what Carl Sagan’s ghost so poetically reminds us: that “the universe will always be much richer than our ability to understand it.”

Nothing restores our porousness and receptivity to that richness more readily than music — the backdoor of consciousness, through which something transcendent slips past all of our reasoned reservations, all of our guardedness and confusion, at once releasing us from the solitary confinement of the self and restoring us to ourselves, reminding us that we are always half-opaque to ourselves and this opacity shimmers with possibility.

One of William Blake’s paintings for The Book of Job, 1806. (Available as a print.)

These questions — the power of music, the power of porousness — animate Nick Cave, whom I see as a kind of sculptor of the spirit, turning the raw materials of life — a life that has not been easy — into something of transcendent beauty.

In Faith, Hope and Carnage (public library) — his long and luscious conversation with Seán O’Hagan — he considers how music parts the veil between the known world and the mystery of being:

I think music, out of all that we can do, at least artistically, is the great indicator that something else is going on, something unexplained, because it allows us to experience genuine moments of transcendence.

[…]

I think there is more going on than we can see or understand, and we need to find a way to lean into the mystery of things — the impossibility of things — and recognise the evident value in doing that, and summon the courage it requires to not always shrink back into the known mind.

In a passage evocative of Nathaniel Hawthorne’s contour of the edges of consciousness, he considers that “impossible” place where transcendence lives — “a semi-conscious place, a twilight place, a distracted place, a place of surrender” — the place where his dead son also lives, and the life-deep sorrow of the loss, and the portal to beauty the loss unlatched in his creative spirit:

There is another place that can be summoned through practice that is not the imagination, but more a secondary positioning of your mind with regard to spiritual matters… It is a kind of liminal state of awareness, before dreaming, before imagining, that is connected to the spirit itself. It is an “impossible realm” where glimpses of the preternatural essence of things find their voice. Arthur lives there. Inside that space, it feels a relief to trust in certain glimpses of something else, something other, something beyond.

One of Arthur Rackham’s rare 1917 illustrations for the fairy tales of the Brothers Grimm. (Available as a print.)

That otherness, that beyondness, is what we commonly call mystery — the realm of experience inaccessible to our analytical minds, unaccountable by reason, and yet a stratum of reality we touch beyond doubt in those rare transcendent moments, as palpable as a lover’s hand, as alive as prayer.

Nick reflects on the supreme portal our species has devised for accessing that realm:

Of all things, music can lift us closer to the sacred.

[…]

[Music] has the ability to lead us, if only temporarily, into a sacred realm. Music plays into the yearning many of us instinctively have — you know, the God-shaped hole. It is the art form that can most effectively fill that hole, because it makes us feel less alone, existentially. It makes us feel spiritually connected. Some music can even lead us to a place where a fundamental spiritual shift of consciousness can happen. At best, it can conjure a sacred space.

In that sacred space, we get to see the world more whole — not artificially, not as a pretty delusion, but with greater fidelity to the deeper reality. He weighs the robust salvation to be found in that space:

The luminous and shocking beauty of the everyday is something I try to remain alert to, if only as an antidote to the chronic cynicism and disenchantment that seems to surround everything, these days. It tells me that, despite how debased or corrupt we are told humanity is and how degraded the world has become, it just keeps on being beautiful.

But because there are no absolutes in beauty, everything we experience as beautiful is a projection of something we long for — a fragmentary fulfillment of our existential longing, or what C.S. Lewis called “the thing itself.” Every artist makes what they make out of the raw material of longing, conscious of it in varying degrees, codified in various forms. Nick considers his:

All my songs are written from a place of spiritual yearning, because that is the place that I permanently inhabit. To me, personally, this place feels charged, creative and full of potential.

[…]

Songs have the capacity to be revealing, acutely so. There is much they can teach us about ourselves. They are little dangerous bombs of truth.

Altarpiece by the Swedish artist and mystic Hilma af Klint, 1907. (Available as a print and as stationery cards.)

Self-revelation is the most vulnerable-making thing of which human beings are capable, and yet in that vulnerability we find our deepest freedom. Echoing Bob Dylan’s insistence that “you must be vulnerable to be sensitive to reality,” he adds:

My experience of creating music and writing songs is finding enormous strength through vulnerability. You’re being open to whatever happens, including failure and shame. There’s certainly a vulnerability to that, and an incredible freedom… To be truly vulnerable is to exist adjacent to collapse or obliteration. In that place we can feel extraordinarily alive and receptive to all sorts of things, creatively and spiritually… It is a nuanced place that feels both dangerous and teeming with potential. It is the place where the big shifts can happen. The more time you spend there, the less worried you become of how you will be perceived or judged, and that is ultimately where the freedom is.

Faith, Hope and Carnage is a joy in its wide-roaming entirety. Complement these fragments with the poetic physicist and pianist Alan Lightman on music as a language for the exhilaration of being alive and other superb writers, from Whitman and Woolf to Kurt Vonnegut and Oliver Sacks, on the singular power of music, then revisit Nick Cave on songwriting, the remedy for despair, and art as an instrument of self-forgiveness.

BP

Nobel Laureate Wisława Szymborska’s Poem “Love at First Sight,” Illustrated

“Every beginning is only a sequel, after all, and the book of events is always open halfway through.”

Nobel Laureate Wisława Szymborska’s Poem “Love at First Sight,” Illustrated

Some of us call it chance; those less at peace with the randomness that governs the universe may call it “God.” But however we name it, there are moments in life when we feel its workings deeply and seek to make meaning out of them — that is part of our creaturely inheritance as the sensemaking species, the pattern-seeking animal. Hindsight is the enchanted loom on which we weave the pattern of our destiny, threading together fragmentary memories and chance occurrences into a thing of cohesion, from which a shape and a story emerge — a story we call fate. Suddenly, we find in our past omens of our present — synchronicities that become signposts, pointing us to where we were always meant to go.

In this haunting sense of fatedness, the determinism of science and the predestination of spirituality converge.

Because love is the supreme magnifying lens of our human experience, through it all of our hopes and fears are enlarged with life; through it the smallest coincidences swell with meaning. It is when we fall in love that we come to feel this eerie fatedness most acutely — something James Baldwin illuminated as he reckoned with love and the illusion of choice. Suddenly, every smallest serendipity is rife with assurance and every found overlap in yesterday’s shadow — the stuffed snail you both snugged as your most beloved toy eons before you knew of each other’s existence, the song you both secretly loved in high school, the shared aversion to pickled radish — a promise of blissfully joined tomorrows.

Long before she furnished the greatest definition of love in her prose, the Nobel-winning Polish poet Wisława Szymborska (July 2, 1923–February 1, 2012) winked at its fundamental chance-nature in a playful and poignant poem about how lovers cast the spell of fatedness on each other.

Szymborska’s beloved poem, translated by Clare Cavanagh and Stanislaw Baranczak — her longtime translators, whose work prompted the poet to exult in “that rare miracle when a translation stops being a translation and becomes… a second original” — comes newly alive as an illustrated book by Italian graphic artist Beatrice Gasca Queirazza.

On the pages of Queirazza’s Love at First Sight (public library), the text of Szymborska’s poem unspools across a magical-realist sequence of illustrations, woven together by the floating leaf that emerges as the poem’s central symbol for the serendipities we read into love.

The strangers who populate the pages — melancholy, dreamsome people all moving through the world as if distracted by some unseen preoccupation — remind us that any two people may cross each other’s path at any given moment without knowing who they would become to one another in some future season of being, unwittingly enacting the poem’s closing verse:

Every beginning
is only a sequel, after all,
and the book of events
is always open halfway through.

Complement with Szymborska’s poem “Life While-You-Wait” and her superb Nobel Prize acceptance speech about the relationship between uncertainty and creativity, then revisit David Whyte’s poem “The Truelove” and Emily Dickinson’s poem love-poem to nature reimagined as an animated song.

BP

The Log from the Sea of Cortez: John Steinbeck’s Forgotten Masterpiece on How to Think and the Art of Seeing the Pattern Beyond the Particular

“Everything impinges on everything else… Everything is potentially everywhere.”

The Log from the Sea of Cortez: John Steinbeck’s Forgotten Masterpiece on How to Think and the Art of Seeing the Pattern Beyond the Particular

The hardest state for a human being to sustain is that of open-endedness. We may know that uncertainty is the crucible of creativity, we may know that uncertainty is the key to democracy and good science, and yet in our longing for certainty we keep propping ourselves up from the elemental wobbliness of life on the crutch of opinion. Few things are more seductive to us than a ready opinion, and we brandish few things more flagrantly as we move through the world, slicing through its fundamental uncertainty with our insecure certitudes. The trouble with opinion is that it instantly islands us in the stream of life, cutting off its subject — and us along with it — from the interconnected totality of deep truth.

A mighty antidote to that very human and very life-limiting impulse comes from The Log from the Sea of Cortez (public library) by John Steinbeck (February 27, 1902–December 20, 1968).

John Steinbeck

In 1940, as humanity’s most ferocious war was rupturing the world, Steinbeck and his marine biologist friend Ed Ricketts decamped to the nonhuman world and its elemental consolations of interdependence, embarking on an exploratory expedition in the Sea of Cortez, also known as the Gulf of California — “a long, narrow, highly dangerous body of water… subject to sudden and vicious storms of great intensity.”

Wading through the tide pools, his hands callused from collecting specimens, his feet stung by poisonous worms and spiked by urchins, his mind invigorated by the ravishing interconnectedness of life, the 38-year-old writer found himself contemplating the deepest strata of reality and its intercourse with the human imagination. What emerges is a meditation on the nature of knowledge — a kind of prose counterpart to Elizabeth Bishop’s deep-seeing poem “At the Fishhouses” — disguised as an expedition journal: a wanderer’s delight in the adjacent pleasure gardens of science and philosophy of mind, composed two decades before Steinbeck received the Nobel Prize for his fiction. Despite his magnificent novels, despite his large-souled letters, I consider this his slender book of nonfiction his finest work.

At its heart is Steinbeck’s passionate refutation of the Western compulsion for teleological thinking — the tendency to explain things in terms of the purpose they serve, antithetical both to science and to the Eastern notion of being: the idea that everything just is and fragment of it, any one thing examined by itself, is simply because it is. Science — the supreme art of observation without interpretation, of meeting reality on its own acausal and impartial terms, free from the tyranny of why and its tendrils of blame — puts us a leap closer to understanding both particulate and pattern through non-teleological thinking — which, as Steinbeck astutely observes, is an inadequate term to begin with, for it asks of us more than thinking in how we parse any sort of information:

The method extends beyond thinking even to living itself; in fact, by inferred definition it transcends the realm of thinking possibilities, it postulates “living into.”

[…]

The greatest fallacy in, or rather the greatest objection to, teleological thinking is in connection with the emotional content, the belief. People get to believing and even to professing the apparent answers thus arrived at, suffering mental constrictions by emotionally closing their minds to any of the further and possibly opposite “answers” which might otherwise be unearthed by honest effort — answers which, if faced realistically, would give rise to a struggle and to a possible rebirth which might place the whole problem in a new and more significant light.

Art by the Brothers Hilts from A Velocity of Being: Letters to a Young Reader.

Such rebirth of perspective allows us to move beyond questions of cause in thinking and blame in feeling, which are related reflexes of the teleological mindset. The moment we regard something simply as it is, because it is, we have understood it more fully, for we have shed the narratives layer of why:

The non-teleological picture… goes beyond blame or cause. And the non-causal or non-blaming viewpoint… arises emergently from the union of two opposing viewpoints, such as those of physical and spiritual teleologies, especially if there is conflict as to causation between the two or within either. The new viewpoint very frequently sheds light over a larger picture, providing a key which may unlock levels not accessible to either of the teleological viewpoints. There are interesting parallels here: to the triangle, to the Christian ideas of trinity, to Hegel’s dialectic, and to Swedenborg’s metaphysic of divine love (feeling) and divine wisdom (thinking).

The factors we have been considering as “answers” seem to be merely symbols or indices, relational aspects of things — of which they are integral parts — not to be considered in terms of causes and effects. The truest reason for anything’s being so is that it is. This is actually and truly a reason, more valid and clearer than all the other separate reasons, or than any group of them short of the whole. Anything less than the whole forms part of the picture only, and the infinite whole is unknowable except by being it, by living into it.

A thing may be so “because” of a thousand and one reasons of greater or lesser importance… The separate reasons, no matter how valid, are only fragmentary parts of the picture. And the whole necessarily includes all that it impinges on as object and subject, in ripples fading with distance or depending upon the original intensity of the vortex.

Total eclipse of the sun, observed July 29, 1878, at Creston, Wyoming Territory
Total eclipse of 1878, one of Étienne Léopold Trouvelot’s groundbreaking astronomical drawings. (Available as a print and as stationery cards.)

In a passage of exquisite intellectual elegance and emotional truth, Steinbeck considers the continuum that is the essence of reality — the continuum we artificially sever into fragments with our teleological explanations and causally compulsive opinions:

No one thing ever merges gradually into anything else; the steps are discontinuous, but often so very minute as to seem truly continuous. If the investigation is carried deep enough, the factor in question, instead of being graphable as a continuous process, will be seen to function by discrete quanta with gaps or synapses between, as do quanta of energy, undulations of light. The apparently definitive answer occurs when causes and effects both arise on the same large plateau which is bounded a great way off by the steep rise which announces the next plateau. If the investigation is extended sufficiently, that distant rise will, however, inevitably be encountered; the answer which formerly seemed definitive now will be seen to be at least slightly inadequate and the picture will have to be enlarged so as to include the plateau next further out. Everything impinges on everything else, often into radically different systems, although in such cases faintly. We doubt very much if there are any truly “closed systems.”

Okay. Enough abstraction. Let us land this into the loveliness of the concrete:

The ocean, with reference to waves of water, might be considered as a closed system. But anyone who has lived in Pacific Grove or Carmel during the winter storms will have felt the house tremble at the impact of waves half a mile or more away impinging on a totally different “closed” system.

The Great Wave off Kanagawa by Japanese artist Hokusai, 1831. (Available as a print and as a face mask, benefitting The Nature Conservancy.)

This interconnectedness, this indivisibility, is the raw antidote to teleological thinking — something Steinbeck illustrates with a living wonder observed from the deck of his expedition vessel:

Seeing a school of fish lying quietly in still water, all the heads pointing in one direction, one says, “It is unusual that this is so” — but it isn’t unusual at all. We begin at the wrong end. They simply lie that way, and it is remarkable only because with our blunt tool we cannot carve out a human reason. Everything is potentially everywhere — the body is potentially cancerous, phthisic, strong to resist or weak to receive. In one swing of the balance the waiting life pounces in and takes possession and grows strong while our own individual chemistry is distorted past the point where it can maintain its balance. This we call dying, and by the process we do not give nor offer but are taken by a multiform life and used for its proliferation. These things are balanced. A man is potentially all things too, greedy and cruel, capable of great love or great hatred, of balanced or unbalanced so-called emotions. This is the way he is — one factor in a surge of striving. And he continues to ask “why” without first admitting to himself his cosmic identity.

Leaning once again on a living metaphor from the world of marine biology, he illustrates how our multitudes compose our totality in something beyond pure equivalence:

There are colonies of pelagic tunicates [Pyrosoma giganteum] which have taken a shape like the finger of a glove. Each member of the colony is an individual animal, but the colony is another individual animal, not at all like the sum of its individuals. Some of the colonists, girdling the open end, have developed the ability, one against the other, of making a pulsing movement very like muscular action. Others of the colonists collect the food and distribute it, and the outside of the glove is hardened and protected against contact. Here are two animals, and yet the same thing—something the early Church would have been forced to call a mystery. When the early Church called some matter “a mystery” it accepted that thing fully and deeply as so, but simply not accessible to reason because reason had no business with it. So a man of individualistic reason, if he must ask, “Which is the animal, the colony or the individual?”’ must abandon his particular kind of reason and say, “Why, it’s two animals and they aren’t alike any more than the cells of my body are like me. I am much more than the sum of my cells and, for all I know, they are much more than the division of me.” There is no quietism in such acceptance, but rather the basis for a far deeper understanding of us and our world. And now this is ready for the taboo-box.

Pyrosoma giganteum

Composing a sort of modern Aesopian fable of our faulty sensemaking, he adds:

It is not enough to say that we cannot know or judge because all the information is not in. The process of gathering knowledge does not lead to knowing. A child’s world spreads only a little beyond his understanding while that of a great scientist thrusts outward immeasurably. An answer is invariably the parent of a great family of new questions. So we draw worlds and fit them like tracings against the world about us, and crumple them when they do not fit and draw new ones. The tree-frog in the high pool in the mountain cleft, had he been endowed with human reason, on finding a cigarette butt in the water might have said, “Here is an impossibility. There is no tobacco hereabouts nor any paper. Here is evidence of fire and there has been no fire. This thing cannot fly nor crawl nor blow in the wind. In fact, this thing cannot be and I will deny it, for if I admit that this thing is here the whole world of frogs is in danger, and from there it is only one step to anti-frogicentricism.” And so that frog will for the rest of his life try to forget that something that is, is.

Art by Arthur Rackham from Irish Fairy Tales by James Stephens, 1920. (Available as a print and as stationery cards.)

There is, Steinbeck cautions, nothing mystical about this recognition of an underlying patter — it is where all science ultimately points and where all knowledge, once freed from the clutch of causality, leads. Echoing the great naturalist John Muir’s observation that “when we try to pick out anything by itself, we find it hitched to everything else in the universe,” he adds:

The whole is necessarily everything, the whole world of fact and fancy, body and psyche, physical fact and spiritual truth, individual and collective, life and death, macrocosm and microcosm (the greatest quanta here, the greatest synapse between these two), conscious and unconscious, subject and object. The whole picture is portrayed by is, the deepest word of deep ultimate reality, not shallow or partial as reasons are, but deeper and participating… And all this against the hot beach on an Easter Sunday, with the passing day and the passing time. This little trip of ours was becoming a thing and a dual thing, with collecting and eating and sleeping merging with the thinking-speculating activity. Quality of sunlight, blueness and smoothness of water, boat engines, and ourselves were all parts of a larger whole and we could begin to feel its nature but not its size.

No excerpt or annotation can do justice to the indivisible wonder that is The Log from the Sea of Cortez. Complement these fragments from it with Hannah Arendt on the life of the mind, Thoreau on how to see reality unblinded by our preconceptions, and Ursula K. Le Guin on apprehending reality through the dual lens of poetry and science, then revisit Steinbeck love and the key to good writing.

BP

The Temple of Flora: Stunning Illustrations of Flowers Inspired by Erasmus Darwin’s Radical Scientific Poem About the Sexual Reproduction of Plants

“If thou art perfectly at leisure… walk in, and view the wonders of my enchanted garden.”

A century before Emily Dickinson wrote that “to be a Flower is profound Responsibility,” Erasmus Darwin (December 12, 1731–18 April 18, 1802) — Charles’s grandfather and his great influence on evolutionary ideas — set out “to inlist Imagination under the banner of Science, and to lead her votaries from the looser analogies, which dress out the imagery of poetry, to the stricter ones, which form the ratiocination of philosophy.”

Having spent seven years translating Linnaeus’s groundbreaking classification system from Latin into English, coining several common English names for flowers in the process, Darwin was especially thrilled by the new science of the sexual reproduction of plants. In 1791, he published one of the world’s first popular science books — the book-length poem The Botanic Garden, which endeavored to introduce Linnaeus’s sexual system to the common reader.

Auriculas from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

In the second half of the book, titled The Loves of Plants, Darwin celebrated the lushest part of the living world through the lens of romance and sex, slicing through the era’s corseted propriety with the intimation that human sexuality is just another part of Nature, as beautiful and valid as a flower.

Animating the book is the insistence that all living things are interlinked in a chain of being; it was in a long footnote to The Loves of Plants that he outlined the rudiments of evolutionary theory, which his grandson went on to develop in On the Origin of Species.

Predictably, having made science scintillating and orthogonal to theological dogma, The Botanic Garden became a bestseller deemed too explicit for unwed women to read.

Large-flowering sensitive plant (Mimosa grandiflora) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

In addition to being a “natural philosopher” (the term for “scientist” before the word was coined for Mary Somerville), inventor, and ardent advocate for women’s education and the abolition of slavery, Erasmus Darwin was celebrated as a supreme English poet before the rise of Coleridge and Wordsworth. A quarter millennium before The Universe in Verse, he channeled its animating spirit, seeing in poetry a powerful portal of feeling into the life of the mind — a portal through which scientific ideas otherwise intimidating or alienating may enter freely, into a temperament of receptivity.

Tulips from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

Darwin devoted his life to illuminating how nature works, meeting reality on its own terms and making of those terms a thing of beauty. These ideas came abloom anew in The Temple of Nature — his final and finest poem. He died before he could see its life in the world — it was published a year after his death and went on to influence generations of scientists, poets, naturalists, and philosophers.

Among them was the English physician and botanical writer Robert John Thornton (1768–1837). Between 1807 and 1812, Thornton published The Temple of Flora — a lavishly illustrated, poetry-laced effort to popularize Linnaeus’s sexual system, heavily influenced by The Botanic Garden and The Temple of Nature.

Stapelias from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

Perhaps because Thornton was not a poet and his attempts at verse were a poor imitation of Darwin’s, the book was not a popular success — the 800 copies printed nearly bankrupted him. But the illustrations from it — scrumptious color engravings of some of Earth’s most magnificent flowers, based on paintings by the eminent artist Philip Reinagle — endure as some of the most breathtaking botanical art of all time.

Night-blooming cereus (Cactus grandiflorus) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Quadrangular passionflower (Passiflora quadrangularis) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Winged passionflower (Passiflora alata) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Nodding renealmia (Renealmia nutans) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Common blue passionflower (Passiflora cerulea) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Blue Egyptian water-lily (Nymphaea caerulea) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.).
Sacred Egyptian bean (Nymphaea nelumbo) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Indian reed (Canna indica) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
American cowslip (Meadia) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Yellow pitcher-plant (Sarracenia flava) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Pontic rhododendron from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Narrow-leaved kalmia (Kalmia augustifolia) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
American aloe (Agave americana) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Chinese limodoron (Limodoron tankervilleae) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Bird of Paradise (Strelitzia reginae) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Artichoke silver-tree (Protea cynaroides) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Carnations from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Superb lily (Lilium superbum) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Hyacinths from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Roses from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Snow-drop and crocus from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Persian cyclamen from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)
Dragon arum (Arum dracunculus) from The Temple of Flora. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

Complement with the stunning botanical paintings of the artist and poet Clarissa Munger Badger, who inspired Emily Dickinson, then savor the science of “perfect flowers” — the botanical term for nonbinary plants — with a side of Emily Dickinson. (All roads in nature lead back to Emily.)

BP

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