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<br />OOO~!J~' <br /> <br />,native groups of North America overlapped... almost <br />exactly with broadly defined major bioregions." <br />Native Americans thus knew a tragedy of the com- <br />mons centuries before Mr. Hardin coined the phrase, <br />as they lost their homes and cultures to colonizing <br />Europeans. Mr, Snyder warns that we colonizers are <br />now inflicting a similar fate upon ourselves: <br /> <br />There will be no "tragedy of the <br />commons" greater than this: if we do not <br />recover the common-regain personal, <br />local, community, and peoples' direct in- <br />volvement in sharing (in being) the web of <br />the wild world-that world will keep slip- <br />ping away.. <br /> <br />And how can we even think without such a <br />web? "Artificial intelligence" will take on new mean- <br />ing as ways of thought follow artif"Ice. "Tawny Gram, <br />mar" stresses that we are not rootless intelligences, <br />but think with "grandparents, place, grammar, pets, <br />friends, lovers, children, tools, and the poems and <br />songs we remember." <br />Friends of The Land Institute should remember <br />"Good, Wild, Sacred" from the book Meeting the Ex- <br />pectations of the Land. Reprinted in slightly different <br />form in The Practice of the Wild, it connects the <br />discussion of how our surroundings shape our <br />thought with observations of a culture which has <br />" known its surroundings for centuries. In "Blue <br />Mountains Constantly Walking" the poet-anthropolo- <br />gist,ecologist observes the Chinese interpretation of <br />Mountains and Waters as a dyad symbolizing wisdom <br />and compassion, then wonders about what they "say." <br />In the terminology of conservation biologists, the <br />Great Plains "say" bison,. ancient forests of the north- <br />'west "say" spotted owl. Mountains and waters, <br />wisdom and compassion, Mr. Snyder concludes, must' <br />"say" all beings. <br />The concluding essays provide additional <br />examples of the practice of the wild and how we might <br />learn of it and from it. "On the Path, Off the Trail" is <br />notable for its gentle weaving of Zen, art, and ecology. <br />We see that a forager, a person hungry for nourish- <br />ment, does not walk along the <br />path for long. Off the trail is <br />where sustenance is found - <br />and where we do our best work. <br />"But you must f"Irst be on the <br />path before you can turn and <br />walk into the wild," warns Mr. <br />Snyder. We can put ourselves <br />, on the path by learning the <br />creative processes of nature, <br />then, using those processes as a <br />model for our own actions, <br />gracefully saunter off the trail. <br /> <br /> <br />The Season Circle <br />Tracy Noel <br /> <br />Early in the fall during a "warm-up" session, <br />we had a discussiot;l about ritual. From as far back as . <br />pagan moonlight dimces, traveling the great cultural <br />distance to our modern day graduations, rituals have <br />been important in our culture. Sometimes it is diffi- <br />cult, though, to fignre out exactly what role some of <br />the modern rituals play. <br />Long ago, and still for some cultural groups, <br />many rituals centered around natural events. The <br />changing seasons, rains, ripening of plants for har- <br />vest, and the migration ,of animals for hunting were <br />of primary importance and widely celebrated. To- <br />day's society has lost touch with many of these <br />natural connections. 1\1' ow we celebrate the football <br />season with homecomings and Superbowls, and <br />imitate the cannons and gunf"Ire of years of bloodshed <br />with fireworks on the fourth of July. Some people <br />believe it is important to recognize and celebrate the <br />natural world, both individually and communally. <br />This requires a good bit of creativity, since much <br />must be created anew or redesigned from the <br />remnants of a largely forgotten past. <br />The idea of creating an "earth circle" or "season <br />circle" at The Land Institute had been floating <br />around among the interns for a month or two before <br />our warm-up discussion. As the fall equinox ap- <br />proached, we realized that it was the right time to <br />carry out plans for the circle. <br />We needed an open space with a clear view of <br />the horizon on the east and west. A small, sparsely <br />vegetated section of rocky soil east of the parking lot <br />near the Wauhob Prairie prove,q ideal. On the <br />afternoon of September 21 we dug a hole and set a <br />native osage orange pole to prepare for the equinox. <br />At sunrise two days later, we placed the first of <br />several limestone slabs embossed with ancient fossils <br />from eastern Kansas to mark the due east rising sun. <br />This point marked the radius for drawing the rest of <br />the circle. We used a strip of nylon webbing to make <br />a compass by tying one end to the top of the pole and <br />stretching the other to where we placed the stones. <br />Following this end around the pole we scraped a <br />circle in the ground and later covered the scrape with <br />wood chips. Just before sunset we collected stones <br />from the Smoky Hill River, which borders the west <br />edge of The Land. As the sun was setting we set the <br />largest stone on the circle directly in line with the <br />pole and the sun. We stacked the other stones on top <br />and watched the last summer sun disappear. Au- <br />tumn had begnn, and our season circle was com- <br />pleted-for now. <br />We invite future interns to set stones in the <br />season circle during the solstices and other occasions <br /> <br />j <br /> <br />! <br />. <br />, <br />., <br />, <br /> <br />, <br />..~ <br /> <br />, <br /> <br />31 <br />