Murmuration: The poetry of the morning walk

This post first ran on January 15, 2013, but since then, the New York Times ran a gorgeous photo spread of murmurations that you should definitely check out.


This morning I awoke to the kind of day that offers an easy excuse to skip the walk. The temperature gauge read -3F (-19C) when I crawled out of bed, and by the time I’d finished the tea and hot porridge my husband had prepared, it was still only -1F. But the dogs were eager, the sun was shining, and my day never feels quite right without our morning ritual.

And so we pulled on our snow boots, bundled up and headed out the door. The snow was squeaky cold, and the air had a briskness that put a hustle in our strides. Halfway up the hill to the lookout, a loud ruckus. Dave turned to me. “Stop. Shhhh…” We looked at each other. “Hear that?” A lush symphony of bird song. Starlings, from the sound of it. But where?

We looked skyward. Nothing. Upslope, only a crow in a nearby piñon pine. Then I spotted them in our neighbor’s willow trees down below. Starlings, yes. Hundreds of them. The moment I pointed to them, as if on cue, they rushed skyward in unison. The birds formed a rising crescendo, then swooped down, and then up and across the sky, like a ribbon, wrapping around itself.

If nature has ever produced a more perfect thing than the mesmerizing beauty of this starling swarm, I have yet to encounter it. No other phenomenon has ever stopped me in my tracks quite like this, made me forget everything else in the world except the brief moment of grace unfolding before me.

A flight of starlings in concert is called a murmuration. Murmuration–even the name is poetic.

Scientists aren’t entirely sure why murmurations happen. But they have some theories. Hawks and falcons prey on starlings (and also my chickens this time of year), and one theory holds that murmurations provide a way for starlings to monitor predators. The chaotic, but graceful motion of a murmuration might also help to confuse and deter predators. As a paper published last year explains,

Work in the 1970s showed that starlings in larger groups responded to the presence of a model hawk faster, and recent work has shown that the formation of ‘waves’ in murmurations is linked to reduced predation success by peregrine falcons. Waves propagate away from an attack, and so fluctuations in the local structure are likely also to be efficient in confusing potential predators.

But even more fascinating to me than why they murmurate is how they pull it off. Here, the European Commission-funded project STARFLAG has some answers. Researchers at STARFLAG have studied starlings around Rome and found that birds in the flock don’t worry about all of the hundred or more birds in the flock. Instead, they focus on six or seven of their neighbors and synchronize with them.

Such synchronicity is a sight to behold. If poetry has a physical presence, this is it. Birds, moving this way and then—suddenly—that. Up, and then down and just as you think you have their flight path figured out, they veer here and then there, always with grace and with fluidity.

This morning’s murmuration was unexpected, and then, just like that, it was over. The starlings landed on some juniper trees on the hillside below us and we continued our trek to the lookout. All the while we kept watch on those trees, but the starlings remained motionless, at least for the moment. The second swarm didn’t materialize during our walk, but the joy of the murmuration stayed with me throughout the day. As tethered as I was to the virtual world later in the day, I could not escape the connection to the physical environment that I’d formed in those brief minutes of bliss.


*Image courtesy of Andrea Cavagna at the STARFLAG Project.

Where Stories Lie Down

In North America, the oldest images put onto rock date back to almost 13,000 BC, deep in the Ice Age. Those types are rare. Most of what you see — phantom-body figures, snakes, lightning bolts, shields, hunting scenes — come from the last handful of millennia, animistic hunter-gatherers and corn-bearing agrarians, the rise of Native America.

Last month I had a new book come out, “Tracing Time: Seasons of Rock Art on the Colorado Plateau” (Torrey House Press 2022). It was my ‘pandemic book’, the thing I wrote during lockdowns when I spent more time with ghosts and serpent gods than I did with living people. After decades of establishing connections in Indigenous and scientific circles, I decided it was time to write about images that, once you start looking, you find all around you, every inhabitable continent scribed and painted with this kind of ancestry.

I live on the Colorado Plateau, a swollen, high-desert landmass pushing up on the Four Corners. Cliffs and boulders are well decorated with rock imagery, what is sometimes called rock writing. If you spend time here, you can’t help seeing it, taken to a panel on a rancher’s land, or pulling off the side of the highway with binoculars, looking up a cliff at a dizzying array of dancers. Who are these people, what were they saying, and what are they saying now? These were the subjects I wrote about in the book.

Rock art can be rubbing, scratching, pecking, painting. A pictograph is painted. In green, red, yellow, and white, you’ll see strokes of big yucca brushes being used a thousand years ago, or sometime a two-hair brush depicting the feathers of a tiny bird. A petroglyph is chipped into the rock, often with a hammerstone and a bone chisel. Sharpened deer leg bones work best. This reveals brighter material underneath, a painstaking process, shoulder against the wall, blowing out dust, pinky fingernail scratching out lodged sand grains. In their day, when they were fresh, these petroglyphs would have popped like neon, as bright and dynamic as any paint.

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Red, Right, Reterning

One morning a week or so ago I was at a park on the north shore of Lake Washington. The park has a long pier, and I was standing on the pier’s end when I heard a harsh shwarrk off in the distance. I perked up, strained my ears. There it was again: Shwarrk! Shwarrk! Maybe a quarter mile away or so I eventually saw the source of the sound gliding over the lake: a white body, long slender wings, a coal black head, a rich red bill: a Caspian tern.

The tern flew towards the pier, its wings so liquid in their movement that they seemed not to have bones. When it was a few dozen yards away, it spied something in the water and flared its tail, turning in a tight circle. Abruptly it folded its wings and dropped into the water with a surprisingly large splash. It emerged moments later clasping a small fish in its bill. As it labored back into the air, a gull saw it with its prize and swooped down on it. The tern dodged out of the way and flapped off, gulping down the fish before calling out: Shwarrk! Shwarrk!

I love Caspian terns. Before it was impermissible to write such things in the formal literature, biologists used to call them “the king of all terns.” The largest of their genus, they can be up to two feet long, with a wingspan of nearly five feet. They might live for twenty years, and are found throughout much of the world. Their return to the Pacific Northwest is one of my favorite signs of spring. I pay attention to migration differently now. When I was a callow youth, spring was the season to scour large passing flocks for the rare or astray. These days, undeniably middle-aged, I appreciate the way birds mark time with their collective rhythms. But the terns have other resonances, too.

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Guest Post: Permanent Impermanence

A peaceful beach below a blue sky and a frilly band of white cloud

Like many poets, indeed many artists of all media, I am strongly drawn to nature, both as a source of imagery and a provoker of emotion. In our time of degraded nature, poisoned and choked bodies of water, and climate change, however, nature suddenly appears to be exceedingly fragile and endangered.

This state is what my poem “Assateague” addresses. The sand itself constantly shifts, reminding us that barrier islands are constantly changing shape and size, are extremely vulnerable to the sea level rises that come with warming oceans. The speaker is uncertainly rooted, aware of far off storms intensified by climate changes, and only maintains a tentative stance.
Assateague 

The waves curl in and lave the shore,
drop their cargo of shells and polished glass,
then withdraw, clawing back the sand.
Sanderlings scatter, poke and pick, flee
incoming waves, chase them back out,
reverse, repeat.
I stand on spongy sand, solid enough
if a bit shaky, sea foam washing my feet.
Somewhere to the south on this overheating
planet, the ocean is boiling up, surging
under the lash of fierce cyclonic winds.
But for now I’m safe on the margin,
feet drawn into the restless sand.
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Why Grandmothers Even Exist

It’s been over half century since researchers dreamt up the idea that grandmothers exist chiefly to enable their children to have their own children, thereby increasing the genetic fitness of the family lineage.  In the 1980s, Kristen Hawks, an anthropologist at the University of Utah, bolstered this so-called “grandmother hypothesis” with her studies of the Hadza tribe of Tanzania, hunter gatherers who rely heavily on the foraging of fruit, nuts and tubers.  Hawks found that the thriving of a first-born Hadza child correlated with the extent of its mother’s foraging efforts. But a second born child’s health—and that of its siblings–seemed to depend more on the foraging efforts of its grandmother.  The more grandmothers stepped in to feed and care for the family, scientists postulated, the better able were mothers to birth more children at shorter intervals.  So it seemed woman survived beyond their fertile years in order to maximize the fecundity of their daughters and daughters-in-law and therefore their line’s evolutionary fitness. (Curiously, further research suggested that the grandfather’s contributions to the children’s well-being did not contribute to said fitness.) 

Not surprisingly, not everyone bought this theory.  In fact, some scientists considered it just another Just-So Story built on post-hoc assumptions that, while compelling, lacked sufficient supporting evidence. 

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The Confluence Project

It’s been 15 years since my one and only contribution to the Confluence Project, an achievement I savour to this day. The goal of the online repository is ambitious, but seemingly simple: to store photos—and perhaps a little travel story—from the intersection of every integer degree of longitude and latitude in the world. So far, 6,594 of these confluences have been recorded, but there are still almost 10,000 to go, even discounting the oceans they don’t expect people to reach.

Nunavut, Canada’s Inuit territory, holds hundreds of confluences, but only a handful have been visited. On the evening of March 10, 2007, the week of polar sunrise, I happened to pass near the confluence of the 80th degree North latitude and the 86th degree West longitude. I was visiting the Eureka High Arctic Weather Station on Ellesmere Island in Nunavut, the northernmost civilian outpost in the world. Its military counterpart Alert is the northernmost continuously inhabited place, bar none, and that’s on the same island, just a few fjords further north.

My purpose at Eureka was to write a profile of the Polar Environmental Research Lab, which lay one mile North-West of this particular confluence. Polar sunrise is a particularly interesting time for atmospheric scientists, because they can get readings of the ozone layer after a whole winter of minimal interactions with sunlight, hence the timing of my visit. It also meant the temperature was -46 degrees Celsius.

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Rearticulation

Skull of a North American river otter (Lontra canadensis)

This post first ran in July 2019.

In 2015, Sarah Grimes picked up this river otter’s carcass on a rugged beach covered in tumbled sea glass. She removed its skin and flesh and soaked its bones first in warm water, then Borax. She kept each section of the skeleton — legs, paws, spine – in a separate mesh bag so the bones wouldn’t get mixed up. Then she cleaned the bones and put the skeleton back together, a process called rearticulation.

Grimes is the Marine Mammal Stranding Coordinator for the Noyo Center for Marine Science in Fort Bragg, California. She is trained and permitted to pick up dead sea mammals and judge how they died. This river otter looked thin, and probably starved to death – its displaced hip joint would have made it difficult to swim. “Poor little nugget,” she said, showing me where the otter’s leg once attached to the rest of the skeleton.

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Naked, at the zoo

naked mole rat in a clear plastic tube

Last weekend I went to the zoo, something I hadn’t done in at least two years and probably much longer. A friend was visiting with her kid, a zoo enthusiast who’d been looking forward to it for weeks.

While at the zoo we saw many wondrous things. Two Asian elephants. A number of surprisingly giant pandas. The murky shadow of a red panda, eating behind a window with too much glare. A couple of river otters, swimming laps in their water. A shockingly fast-moving sloth, roaming the branches of its enclosure. The orangutans high overhead on their tightrope.

But the animal that I keep thinking about? The naked mole-rat. The National Zoo has two colonies of these odd, non-furry critters on display, with their big teeth and their wrinkly skin.

They maybe aren’t the nicest to look at. Not as cute as the wee monkeys that surround them in the Small Mammal House, that’s for sure. My friend’s kid was soon ready to move on. “Helen used to study ants, and these are the mammal version of ants,” his mom explained.

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