Thursday, August 14, 2014

at the produce auction


at the produce auction
an Amish girl listens raptly
to the bid calling

August is one of the busiest months for the Southern Iowa Produce Auction, with sales scheduled three times a week. Early one Friday morning I tag along for the one hour trip from Fairfield to Drakesville, not far from the Iowa-Missouri border. John is driving a bus for Jan, who's purchasing fresh produce for our university dining hall, and Dr. Tim from the Sustainable Living Department, who wants to connect with Amish growers about organic farming. We leave at 8 because Jan wants to get there by 9 to check out the produce before the auction starts at 10.



A large Amish community has grown up around Bloomfield since 1971. Mostly farmers, they saw the need for a facility where growers could bring their fresh bulk produce for wholesale buyers, so they formed a partnership and built a new facility in the tiny town of Drakesville, northwest of Bloomfield.



The auction house is a big open building with a drive-through for horse-drawn Amish buggies and flatbed trailers to deliver and pick up produce.




Growers pick perishable produce just hours before the sale. 



By the time we arrive, the parking lot on the east side is full of horses and carriages. 



Amish driving horses wear blinkers or blinders on their eyes to help them stay focused on the road and not be spooked by vehicles zooming by on the highway.


The lot on the west side where we park the bus is full of trucks and cars.


An Amish woman, carrying baked goods, arrives on foot with her three young sons, a dog, and a pony cart pulling a child's wagon. The mother wears a black bonnet, a plain blue-green dress and black shoes. The boys, all barefoot, wear straw hats, different sold-colored shirts and black pants with suspenders.



The auctioneer is not Amish, but his assistants are: the man in the yellow straw hat with the ear mike who keeps track of who's bidding, the woman in the starched white cap and lavender dress who marks the number of the winning bidder, and the man in the black straw hat who marks that number on a yellow tag and affixes it to the produce. 



Some of the produce is in small lots, some in large lots, like these watermelons. Jan is bidding on one of three big box of watermelons, while Dr. Tim listens to the auction chant: "One dollar bid, now two, now two, will ya' give me two?"




Four Amish men in blue shirts and summer straw hats watch the proceedings. The two young men on the left are clean shaven, a sign that they're not yet married, while the two men on the right, with crossed arms, have beards but no mustaches. In eighteenth-century Europe, the mustache was popular among the military and the Amish, being pacifists, did not want to be associated with those who waged war, so the men shaved their upper lips but grew long beards like the men in the Bible. And then they immigrated in the 1730s to escape military conscription.


Dress for Amish women in this area is a long solid-colored dress closed with straight pins. Head coverings include a black bonnet for married women, a pleated white cap for unmarried girls, or a head scarf, fashionable among younger women, whether married or unmarried. This young lady is wearing a traditional bonnet over a head scarf. 



Sometimes an apron is worn over the long skirt.




Older women wear a matching cape over the bodice. Shoes and stockings are always black.


This young girl goes barefoot and wears a head scarf that matches her long-sleeved plum-colored dress. Amish clothes may be simple in style and unadorned with patterns, but the colors can be quite rich.



This family is very traditional. The baby is wearing a navy blue cap and the little boy's shirt has a band collar. The older man wears a black suit, black felt hat and brown boots. The men's pants have no pleats or cuffs, and are held up with suspenders attached by buttons. No belts. Their jackets and vests are closed with hooks and eyes or snaps, not buttons, maybe another anti-military custom.



Youngsters everywhere like to have fun. An Amish boy rides a produce cart like a skateboard.



These "English" girls, as they are called by the German-speaking Amish, also discover how much fun a cart can be.


An Amish boy plays at driving a fork lift loaded with corn.


While his counterpart in cowgirl boots turns one into a scooter.



Many Amish youngsters are already working, like this boy pulling new boxes out of a stack, to be sold to growers bringing their produce in for consignment.



An Amish grower shucks an ear of sweet corn for a prospective buyer to taste.



Both of these men, although they're from different cultural traditions, would certainly agree on the value of preserving the past and educating the future.




Two farmers, two different traditional costumes.



It's a social event as well. Two Amish men in an animated conversation.


A group of farmers sit and chat in lawn chairs between the parked trucks and the piles of produce.


No electricity in the facility, so the auctioneer's speaker runs on a small gasoline motor.



Lack of electricity isn't an obstacle for these "English" children with a battery-operated tablet.



Like sweet corn, melons invite sampling.



But not the baked goods, carefully wrapped in foil and plastic.



While a young mother scans the list of regular consignors, two of her sons eye the pies.


The auction finishes after two hours and people line up to check out and pay the cashier.


An Amish man attaches a cover to his purchased produce.


While three girls keep his horse company.


Someone has to clean up the horse manure!


Others load up their trucks.


In our case, we're loading produce onto the seats and floor of the bus. We form a line. Dr. Tim unloads the 25 large watermelons from a gigantic box, John carries them from the loading platform to the door of the bus, I transfer each melon to Jan inside the bus. As is the Amish way, many hands make light work, and soon the Tag Man in the black hat with the little utility apron around his waist steps into back of the bus where Jan hands him the heavy melons and he lowers thrm onto the floor.


Rule 6  of the Auction Rules states, in red, that "S.I.P.A accepts no liability for safekeeping of produce . . . left at the auction." But 20 minutes after we're on the highway headed home, Jan gets a call on her cell phone. It's the Tag Man telling her that she left two boxes of yellow tomatoes. So John turns the bus around and back we go.




The Tag Man is waiting for us on the loading dock to hand us the boxes of tomatoes.



Heading back out again, we pass a house right next to the auction house, with a clothesline full of plain Amish clothing in plain sight.



Although their clothes are somber, there's no rule against growing bright red geraniums.

Saturday, August 9, 2014

happiness is a red


happiness is a red 
headband, sailor school uniform,
and a big stuffed bear

Our hosts from Van Arts take us on a field trip to Gastown, the Victorian area of Vancouver, a favorite hangout for both tourists and locals.



Brick sidewalks, brick streets, brick buildings, ornate wrought iron everywhere.



Strangely shaped narrow buildings between angled streets and red trolleys.


And, of course, round white "gaslights" clustered on iron lamp posts. It looks like the dragons are blowing bubbles!


A statue of the man for whom Gastown is named, "Gassy" Jack Deighton, a steamboat captain from Yorkshire, who opened the first saloon in the Vancouver area in 1867, which he called the Globe Saloon (perhaps an allusion to Shakespeare's Globe Theater back in England?). As a barkeeper, he was known to be quite talkative and a storyteller, hence the nickname, "Gassy." If you look closely, there's a bit of torn banner over his heart.


An iron gas cover in a carefully cut of bricks in the curved pattern of the brick street. I notice that all of these bricks are nameless, none bear the name of the brick company.



And the manhole covers are decorated with Victorian filigree.




A cyclist and a Smart car zip across a pedestrian crosswalk marked by alternating bands of cobblestones and brick. On the other side of the street, For Lease signs are plastered on every double-decker bay window. I am told that rents are almost as high or even higher than mortgage payments in this rapidly growing city.


Cobblestones provide a stronger foundation for the lamp post and a swag iron chain fence separates the brick sidewalk from the wide curbstones.



Many restaurants, including the original Spaghetti Factory with its Gastown trolley.



At the Smart Mouth Cafe, a woman takes a selfie.


The window of an interior furnishing store blends the modern striped furniture with a passerby wearing a striped top.


"Hip" fashion boutiques abound. This black skirt really is hippy!


Gastown provides an outlet Native American Artists in the numerous art galleries, everything from totem poles to original prints and paintings, stone carvings, drums, ceremonial masks, dream catchers, jewelry, native-inspired clothing and blankets. One gallery that looks particularly appealing, Hill's Native Art, features more than 1200 artists from every known Tribe and Nation of the Northwest Coast. I return the next day to buy a pair of handmade silver earrings with a whale motif and a pair of moosehide moccasins.



Something for everyone: a collection of old license plates.


And those essential phone cards, especially when you're traveling outside your server area.


Because it's a big city, grilles and locks on doors are standard.



At the end of a rainy evening in Gastown, globe lights and sparkling tree lights highlight the wet brick patterns on the sidewalk, while the red maple on the Canadian flag seems to cling tightly to its "branch."


Monday, August 4, 2014

street life staples


street life staples --
cardboard (sign, sleeping mat),
small donation cup,
backpack, blanket, towel,
umbrella, shopping cart,
one pink tulip

Coming from a small town to the big city of Vancouver, the first thing I notice, which everyone else does not seem to notice, are the homeless people. Sleeping on the sidewalk in the middle of the day or huddled under an umbrella by the bus stop in the rain. But no one is holding out a hand, just the cardboard sign and the cup on the pavement.


One evening after a generous meal, as we are walking back to our rooms in the YMCA, we spot a woman sleeping in an alley. Our teacher, Gabe, who hails from Mexico, walks up quietly and leaves his carryout container by her feet. This becomes our modus operandi while we're in Vancouver. On our last day, we eat at a Thai restaurant before driving down to Seattle. A man is sitting outside our cafe beside his two dogs, carefully covered with a blanket, reading a dogeared copy of Crossroads of Twilight by Robert Jordan, one of my favorite authors. When I hand him my extra rice, the dogs get to their feet, sniffing, but he says, "That's not for you." I'm wondering how he feeds those two big dogs, but I don't ask. Instead, I dump all of my remaining Canadian coins in his cup and say, "That's for your dogs."


Then there are the street performers. A young man with long hair playing his banjo, case open to collect donations. I like to support people like this who actually provide a service. However, I pass up the guy sporting a blue Mohawk and holding a white rabbit (better than a cardboard sign) because he doesn't look needy and he doesn't even pull the rabbit out of a hat.


I get drawn in by the man in an orange street maintenance worker's jacket. He doesn't look like an actor, but he's soon commanding an audience as he dramatically recounts an incident where a truck nearly collided with the steam-operated clock in Gastown. I'm happy to give him a tip for his storytelling. Ironically, I find out later, one of the reasons the clock was built in 1977 was to cover a steam grate so that homeless people wouldn't be able to sleep on the spot warmed by steam from the underground pipes which heat most of the downtown area.


I love the street artists, but because we're on a Van Arts Institute tour, we don't have time to stop and shop.


Some painters are happy, some are serious.


We take note of a little group of cheerful wood carvers, promising to come back when we're free.



I'm of course intrigued by this highly focused (ha, ha) photographer and models (girl and dog). Not sure who is paying whom here!


And I do take the time to purchase one flower from a smiling street vendor.

green apple, hidden


green apple, hidden
face, green scarf around the neck
of a headless man, 
green jacket, eyes shadowed by 
the brim of a cap

On a street in Vancouver's Victorian Gastown, I pass a storefront window that appears to be a gold-framed painting of a man in a bowler hat with a green apple hovering in front of his face, a large reproduction of a famous self-portrait by RenĂ© Magritte. Between the portrait and the glass window, a headless mannequin in a blue suit with a green scarf around its neck appears to float in front of Magritte's shoulder. Outside the "painting," a man in blue jeans and a green jacket leans against the gold "frame" smoking a cigarette, his eyes shadowed by the brim of a cap. 
          Green apple, green scarf, green jacket. Hidden headless, shadowed. Mysterious synchrony.
          Like Magritte's painting, cryptically entitled The Son of Man. Perhaps the surrealist painter was simply referring to humanity in general, or he may have been alluding to Jesus, who is frequently referred to as the Son of man, or it could be an allusion to the apple from the Tree of Knowledge that Satan uses to tempt Adam and Eve, the first man and woman, thus ending their innocence, and causing them to hide their nakedness and flee from the Garden of Eden. But there's more subtle meaning in this painting.
          In a 1965 radio interview, Magritte had this to say about Le fils de l'homme:
At least it hides the face partly. Well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present.
          Magritte, wherever you are, can you see this wonderful serendipity of the visible that is present and the visible that is hidden?