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Waking Up Our Earthworms

Photo: David Kohler via Unsplash.
Vintners are discovering the importance of bringing back earthworms.

In many parts of the world, growers who have relied on herbicides and pesticides are learning about the benefits of healthier soil, and so they’re getting rid of soil-damaging practices.

In today’s story, we have an example of vintners in the UK who have caught up with recent bio-friendly practices in France. They have not made their changes out of kindness to the planet, although that’s a side effect. They’ve done it to produce a better grape.

Helena Horton writes at the Guardian, “Vineyards are generally the most inhospitable of landscapes for the humble earthworm; the soil beneath vines is usually kept bare and compacted by machinery.

“But scientists and winemakers have been exploring ways to turn vineyards into havens for worms. The bare soil is problematic because worms need vegetation to be broken down by the microorganisms they eat. Pesticides are also highly harmful to the invertebrate, as is the practice of compacting the earth: worms need the soil to be porous so they can move through it.

“Earthworms … aerate soil, and they pull fallen leaves and other organic matter into the earth and recycle them. But their populations have declined by a third in the UK over the past 25 years due to pesticide use and over-tilling of soil.

“Marc-André Selosse, a professor at the National Museum of Natural History in Paris, has been urging vineyards to increase grass and plant cover on their soil, and reduce the amount they till, to save the worms.

“Selosse said: ‘In France, the vineyards are 3% of the agricultural area, and they are using 20% of the chemicals. In vineyards, for the soil there is a lot of treatments, so there’s a lot of compaction, and there is a lot of pesticides used.’ …

“Worms had not yet vanished from the most intensively farmed vineyards, he said, but they did need to be supported with more regenerative practices.

“ ‘I think the worms are at a low level,’ he said. ‘They are just surviving, but they are still there, which means that no one is thinking of buying earthworms for the soil, because they are there. It’s like Sleeping Beauty; they are there at very low level, and we have to wake them. But once again, in soil, we have resilience. It’s one part of biodiversity where they are so numerous that we were not able to kill all of them.’ …

“Selosse said the main thing vineyards could do for worms was to stop tilling the soil – breaking it up and turning it over – even if that means that herbicides such as glyphosate are used instead to remove weeds. … ‘In the future, sooner or later, we’ll have to stop glyphosate also but for now, tilling is the first cause of worm problems.’

“Now some vineyards in the UK are making worm-friendly wine. When Jules and Lucie Phillips, co-owners of Ham Street Wines in Kent, started their vineyard, they were advised to grow conventionally by tilling and using pesticides, but were horrified by the results.

“Jules said: ‘After we did that, we went out and we dug a soil pit immediately after planting, and then also later in the season, and we realized the soil was just dead.’ There were no worms. It was smelling not particularly interesting at all, and the structure was poor.’ …

“The pair had a revelation. ‘We just thought, this is completely the wrong way of farming and we need to do something different. We want life in our soils. And so we began the conversion to organic in that same year, and we’re now certified biodynamic.’

“Rather than using pesticides, they applied herbal teas to the vines to promote plant health, Jules said: ‘For example, horsetail tea has a real high silica content, and that improves the leaf cell wall and means that it’s more resilient.’

“The couple run a no-till system under the vine: ‘We’ve let the cover crop grow really long, and we typically let it grow right up into the canopy up until about flowering, and then we’ll mow it back. And the benefits of that are huge. The cover crop is really growing and really establishing that root structure and getting it to its maximum point. And finally, we put a big mulch on top of the soil that’s going to feed those worms and feed that soil life.’

“This has hugely helped their worm population: ‘We’ve seen our worm counts increase massively from basically none to around 20 or 30 in a spade full. So extrapolate that up to a square metre, and it’s a very decent volume.’

“Rob Poyser, a viticulturist at the regenerative wine consultancy firm Vinescapes, said that growing wildflowers in the vineyards they consult on had also brought great results. ‘We think in between three and five years we can take a bare soil and bring it back to life, into a thriving ecosystem,’ he said. ‘We’ve used things like cover crops to bring this vineyard to life, to build the fertility into this system, and organic matter. We’re bringing life back to these soils we’re using. We’re letting nature do it.’

“Poyser said they allowed wildflowers to grow all over the vineyards, and clients were delighted when clover, for example, sprung up because ‘clovers are great companion plants under the vine for grapevines; they’re also loved by earthworms.’ “

More at the Guardian, here. No paywall.

Photo: Carlos Gonzalez/The Minnesota Star Tribune.
Crop art by Amy and Steve Saupe at the Minnesota State Fair, inspired by Magritte’s 1929 work, the “Treachery of Images.”

Crop art uses seeds and other agricultural produce to create “paintings.” In Minnesota, crop artists take the work very seriously and spend many painstaking hours on it.

At the Minnesota Star Tribune, Alicia Eler writes that in September, the Minneapolis Institute of Art opened its first juried exhibition of crop art from the State Fair. The works shown at “Cream of the Crop” were inspired by artists like Hokusai, Magritte, Chagall, and van Gogh.

“MIA director and president Katie Luber, associate curator of European art Galina Olmsted, and associate curator of global and contemporary art Leslie Ureña made the selections in two categories: best interpretation of an artwork at MIA and best interpretation of a Minnesota landmark, story or figure. …

“ ‘Crop art engages with this really rich tradition of mosaic and beadwork and embroidery that exists in all cultures in perpetuity,’ Olmsted said. … ‘But then it’s this hyperlocal Minnesota form.’ …

“Amy and Steve Saupe’s the ‘Treachery of a Pronto Pup’ won best interpretation of an artwork at MIA. The father-daughter team has been making seed art since 2017.

” ‘I loved it because it’s an art history in-joke ― you have to know the Magritte painting to get it ― and then it’s also this specifically Minnesota State Fair in-joke,’ Olmsted said. … ‘The way the artists built up the background … you can tell was this real attention to detail.’ …

“Honorable mentions include ‘Vincent Van Grow Olive Trees’ by Jill Osiecki, ‘All the Eternal Love I Have for the Crop Art’ by Jill Moe (a reference to Yayoi Kusama), ‘Under the Wave off Kanagawa’ by Amanda Cashman … and ‘Crop Art study of Alice Neel’s “Christy White, 1958” ‘ by Ursula Murray Husted.

” ‘Reimagining van Gogh’s Olive Trees through the textures and natural colors of seeds has been such a joy and to see that creation displayed in one of the nation’s finest museums is truly a dream come true,’ artist Osiecki of Eagan said of her entry that earned an honorable mention. …

“Crop artist Jeanne Morales’ ‘My Chagall Dream’ won for best interpretation of an artwork at MIA. The artist referenced the flying woman, a motif in Chagall’s paintings, and in Morales’ artwork, it flies over Minneapolis.

“ ‘It’s my love letter to the Twin Cities,’ said Morales of Longfellow. ‘All the places I chose are places of community gathering points.’

“Marc Chagall is her favorite artist. She first saw his work in Paris, and she appreciated his whimsical paintings and the way figures in his paintings often float above their towns.

“ ‘We just thought that was a really creative take and required a deep dive into art history but was also really carefully and beautifully done and impressive,’ Olmsted said.

“Honorable mentions include ‘Goat’ by Annmarie Geniusz, ‘Broken Pinky, Unbroken Justice’ by Juventino Meza, ‘Star Gazing’ by Nancy Rzeszutek and ‘Old Dutch and Top the Tater’ by Kaela Reinardy.

“Meza, who curated the exhibition ‘Seeds of Justice’ in April, used crop art to honor former Minnesota State Supreme Court justice Alan Page. Meza was a recipient of a Page Education Foundation Scholarship as an undocumented high school student and it helped him pay for college.

“ ‘It feels incredible to be recognized with this honorable mention,’ Meza of Minneapolis said. ‘Crop art has become a way for me to tell stories that connect my personal journey with broader struggles for justice.’

“In 2004, MIA hosted a crop art exhibition of work by Minnesota legend Lillian Colton. The current exhibition marks the first juried crop art exhibition with work from the Minnesota State Fair’s crop art show.”

More at the Strib, here. (You can get a limited free subscription to the paper by providing your email, but if you’re often interested in the Twin Cities, a paid subscription is like a donation to freedom of the press in Minnesota.)

Las Vegas Water Patrol

Photo: RJ Sangosti/MediaNews Group/The Denver Post via Getty Images.
Above, Las Vegas Valley Water District Water Waste Investigator Devyn Choltko puts a water waste violation into the computer system outside a home in north Las Vegas, Nevada.

When water is seen running into the gutter from a lawn in a desert city, Water Waste Investigator 9393 steps in. The good news is, water conservation efforts like those in Las Vegas are paying off.

Yvette Fernandez reports at National Public Radio by way of the Mountain West News Bureau, an NPR regional hub, in collaboration with Nevada Public Radio in Las Vegas. 

“About two dozen investigators patrol neighborhoods throughout Las Vegas every day searching for signs of wasted water. They’re known as water waste investigators who are part of the Southern Nevada Water Authority. For more than 20 years, they have been helping conserve water in the growing desert city.

“Devyn Choltko is one of the investigators with the Las Vegas Valley Water District, which is part of SNWA. … On an early July morning, she stops her patrol car in a neighborhood where water flows onto the street.

” ‘Water Waste Investigator 9393,’ Choltko reports into her cell phone to record the incident. ‘Some misaligned sprinklers as well as over-irrigation causing some run-off,’ she continues. …

“Choltko says ‘spray and flow’ violations are among the most common problems. This is when water from a sprinkler head sprays out onto the sidewalk or street, and that’s considered wasted water.

“Choltko marks a yellow flag with the date, time and alleged violation, then places the marker on the property to notify the resident. The investigators can only leave the yellow flag if they have actually witnessed the violation.

” ‘Most people don’t even know they have a problem,’ Choltko says. …

“Residents get a few notices to take corrective action. If they are ‘repeat’ violators, a fine ‘is recommended,’ says Choltko. They face a fee of $80 initially, which can continue to double if ignored.

“Choltko says some homeowners may have issues they aren’t aware of. A homeowner, for example, may have taken proactive steps to conserve water by removing their grass and switching to desert landscaping. Succulents and drought-resistant plants should be watered using drip irrigation to get water directly to the roots and reduce evaporation. But faulty or worn-out tubes can result in water spewing onto sidewalks. …

“For low-income homeowners who cannot afford repairs, the SNWA can provide financial assistance to make necessary repairs. It will also provide help in detecting leaks.

“More than twenty years ago, drought gripped the Colorado River Basin. … By 2003, the Southern Nevada Water Authority, a not-for-profit water provider with a half dozen water collaborative agencies in southern Nevada, responded with several water conservation efforts, which included starting the water patrol. …

“Says Bronson Mack, a spokesperson with the SNWA, the goal [is] to educate people about the importance of water conservation and encourage people to change their behavior. That change can be as small as people taking shorter showers or reusing water for plants or cleaning.

” ‘We collected in the neighborhood of about $1-$1.5 million over the recent years in water waste violations,’ says Mack. The Las Vegas Valley Water District uses those dollars to support conservation programs, such as incentives to remove turf and rebates to install smart irrigation systems. …

“Just east of Las Vegas, receding ‘bathtub rings’ are etched into one of the country’s largest reservoirs, Lake Mead — a reminder of how much water there once was. The reservoir provides water to Las Vegas and surrounding Clark County. Lake Mead and Lake Powell are at less than 35% normal capacity.

“The Southern Nevada Water Authority … has a significant effort to recycle water that’s already been used by treating it and putting it back into use. According to SNWA, it returned more than 245,000 acre-feet of water to Lake Mead in 2024. …

“The population of Las Vegas has grown by over 800,000 people since 2002. And, the city has seen over 40 million visitors during that time. Despite that growth, ‘we have reduced our consumption of Colorado River water by more than 30% over the past two decades,’ Mack says. …

“Low levels at Lake Mead and Lake Powell are expected to continue, according to the latest data released by the Bureau of Reclamation. The Department of the Interior’s Acting Assistant Secretary for Water and Science, Scott Cameron, said in a news release: ‘forward-thinking solutions’ that prioritize conservation will be increasingly important.”

More at NPR, here.

Photo: .Ross D. Franklin/AP.
A giant dust storm called a haboob is seen approaching Phoenix, Arizona. In a haboob, a monsoon-like storm pushes large quantities of dust into the air.

I’ve lived all my life in snow country, and one thing I concluded soon after learning to drive is never to drive in a whiteout. It’s like temporary blindness. If you can’t see anything, you shouldn’t drive.

I imagine the same is true for driving in a haboob.

Juliana Kim wrote at NPR in late August, “Parts of central Arizona were engulfed by a towering wall of dust on Monday evening — producing dramatic scenes that sent shockwaves far beyond the Grand Canyon state.

” ‘ It was larger and it went through a metropolitan area so it gained a lot of attention,’ said Mark O’Malley, a meteorologist with the National Weather Service in Phoenix.

“According to O’Malley, the dust storm — known as a haboob — originated in southern Arizona around 3:30 p.m. local time and reached the city of Phoenix about two hours later.

“The storm gradually weakened as it moved through north-central Arizona and in total, lasted about an hour, O’Malley added.

‘The haboob was accompanied by intense thunderstorms. On Monday evening, more than 39,000 households in Arizona were without power and the bulk of outages were in Maricopa County, which includes Phoenix, according to NPR member station KJZZ.

“The dust storm also reduced visibility to a quarter-mile across the city. The state’s Department of Transportation urged drivers to stay off the road and flights at the Phoenix Sky Harbor International Airport were temporarily grounded, KJZZ reported.

“Although images from the haboob may look apocalyptic, dozens of dust storms occur each year in southwestern U.S., according to the National Oceanic and Atmospheric Administration (NOAA). …

“These dust storms are the result of powerful winds from a thunderstorm. As the storm cell moves, it forces air down and forward, picking up dust and debris along the way, according to NOAA.

“The recent haboob that swept through Phoenix also came after a series of severe thunderstorms in the area.

“  ‘That’s how these outflows form is behind thunderstorms and it pushes across the desert and in this case, picked up a lot of dirt and transported it into the Phoenix metro area,’ O’Malley said.

“The word ‘haboob’ comes from the Arabic word ‘haab’ meaning ‘wind’ or ‘blow,’ according to NOAA. Haboobs are common in hot and dry regions like the Sahara desert and the Arabian Peninsula. Wind speeds reaching 60 miles per hour can cause a wall of dust as high as 10,000 feet, NOAA said. But these storms are typically brief, lasting between 10 to 30 minutes.

“Still, dust storms have been the cause of dozens of traffic fatalities in the U.S. over the years. In 2023, researchers from NOAA’s Air Resources Laboratory estimated that between 2007 and 2017, there were at least 232 deaths from dust storm-related traffic events.

” ‘We found that dust events caused life losses comparable to events like hurricanes and wildfires in some years,’ Daniel Tong, one of the authors of the research paper, said in 2023. ‘Greater awareness could reduce crashes and possibly save liv”

More at NPR, here.

Photo: Farmingdale Observer.
Merino sheep are said to show improved wool quality under solar arrays.

Here’s a win-win-win for the environment, sheep grazing, and agrivoltaic farming practices in general. One caveat: you need to place solar arrays on already open land. Cutting down trees to put in solar is actually a loss for the environment as trees are so good at carbon capture.

Bob Rubila writes at the Farmingdale Observer, “In a groundbreaking study that combines renewable energy with traditional farming practices, researchers have observed remarkable changes in 1,700 sheep grazing amidst solar panels. This innovative approach, known as agrivoltaics, is revolutionizing how we think about land use while yielding unexpected benefits for the animals involved.

“A comprehensive three-year study conducted at Wellington Solar Farm in New South Wales, Australia, has revealed fascinating results about sheep and solar panel coexistence. The research team from Lightsourcebp, in partnership with EMM Consulting and Elders Rural Services, monitored 1,700 Merino sheep divided into two groups: one grazing in traditional pastures and another among solar panels.

“The findings challenge conventional assumptions about livestock welfare in modified environments. Sheep grazing between solar arrays showed no negative health impacts. Instead, researchers documented enhanced wool quality with increased fiber strength and growth rates. The solar infrastructure created microhabitats that benefited both the animals and the underlying vegetation.

“ ‘The promising results indicate we’re on the right track,’ explained Brendan Clarke, acting environmental planning manager at Lightsourcebp for Australia and New Zealand. …

“The solar arrays provide critical shelter during extreme weather events, protecting sheep from both intense heat and adverse weather conditions. This protection creates a more stable environment for the animals throughout seasonal variations. The panels’ shade effect helps retain soil moisture, which promotes healthier grass growth and more nutritious forage for the grazing animals.

Interestingly, researchers noted reduced parasite presence in the solar grazing areas, contributing to improved overall animal health.

“This unexpected benefit appears to stem from altered ground conditions beneath the panels, creating an environment less hospitable to [common] parasites. …

“The relationship between energy infrastructure and animal welfare continues evolving as more long-term studies emerge. While some regions face environmental challenges like the dormant volcano showing signs of awakening after 250,000 years, these sheep-solar partnerships represent positive ecological developments.

“The Australian findings align with similar research conducted in France, where INRAE (National Research Institute for Agriculture, Food and Environment) collaborated with renewable energy producers Statkraft and CVE. Their two-year study involving 24 ewes confirmed beneficial effects on flock welfare, improved thermal comfort, and enhanced forage quality.

“ ‘The thermal comfort of the animals improves significantly, and the availability of quality fodder increases, among other benefits,’ noted Véronique Deiss, INRAE researcher. These correlated results across continents suggest universally applicable principles for successful agrivoltaic implementation.

“Beyond animal welfare, agrivoltaics offers economic advantages for both energy and agricultural sectors. Solar farms benefit from reduced vegetation management costs as sheep naturally control grass growth, eliminating the need for mechanical mowing or chemical treatments. For farmers, access to otherwise unused land provides additional grazing opportunities without purchasing or leasing additional property. …

“With these 1,700 sheep demonstrating improved wool quality while maintaining solar farms, agrivoltaics exemplifies how innovation can simultaneously address energy production, land management challenges, and animal welfare – creating sustainable solutions that benefit multiple stakeholders across agricultural and energy sectors.”

More at Farmingdale Observer, here.

Photo: Danielle Duran Zecca/Amiga Amore.
Danielle Duran Zecca, co-owner of Amiga Amore in Highland Park, Los Angeles. 

Well, in one way, this is a time of great opportunity. There are endless opportunities in the US to meet the growing needs. Endless opportunities to practice charity in daily life.

A chef in Los Angeles knew opportunity as soon as she saw it. The revealing moment took the form of government officers in masks snatching people off the streets.

Victoria Namkung reports the story at the Guardian.

“When Danielle Duran Zecca saw military-style immigration raids and people being snatched off the streets and put into unmarked vehicles in her native Los Angeles earlier this summer, she was in disbelief. …

“Duran Zecca, a James Beard Award nominated chef and co-owner of Amiga Amore in Highland Park, a historically Latino neighborhood in north-east LA [said] ‘I didn’t know what to do, but I knew how to feed people and love on people because that is exactly how I was brought up in my family.’

“When several of Duran Zecca’s workers expressed fear about coming into the restaurant, the chef had a realization.

“ ‘If they didn’t want to leave their homes, how many others were like this and how many weren’t eating,’ she said. Earlier in the year, Amiga Amore received donations that allowed the Mexican-Italian restaurant to give meals away to those affected by the LA wildfires, but this time she would need a different approach, one that made people feel safe.

“Duran Zecca began personally delivering free meals to 25 to 30 people every other Sunday in nearby Boyle Heights. …

“Since ICE began to infiltrate LA in June, once-bustling neighborhoods have become quiet. Vendors locked up stalls in the flower district. Popular taco stands and fruit carts are closed and some restaurants sit empty. Although it is unknown exactly how many people are staying home due to Ice’s aggressive arrests, immigration sweeps at restaurants, farms, Home Depots and even car washes have created a chilling effect on businesses that rely on immigrant labor.

Restaurants such as Amiga Amore and other groups from the food and hospitality industry are stepping in to help people in their community who have nowhere to turn – even while their own businesses are suffering economically. …

” ‘Latinos are not only the backbone to our industry, they are the industry,’ said Duran Zecca. ‘Behind every chef are Latino line cooks ready to make magic happen. All they want to do is work, make a living and feed their families.’

“To make her deliveries twice every month, Duran Zecca receives logistical support from her good friend Damián Diaz, the co-founder of No Us Without You, an LA-based non-profit that provides food security for undocumented people, including back of the house staff from bars and restaurants.

“ ‘The administration has been doubling down on making it much more difficult for the families in the community and also small grassroots organizations like us to really be impactful,’ said Diaz. In the past, No Us Without You had drive-through lines for food distribution, but stepped-up enforcement made that impossible, so they pivoted to working with a coalition of restaurants to serve up to 40 families every fortnight so they can shelter at home.

“ ‘This environment of fear in light of increased enforcement, and really excessive enforcement, is causing folks to miss out on some very key necessities such as doctor’s appointments and going to the grocery store,’ said Rita Fernández director of immigration policy project at UnidosUS, a Latino non-profit advocacy organization. …

“This summer, Congress allocated $170.7bn in additional funding for immigration and border enforcement … creating what some critics call a ‘deportation-industrial complex.’ …

“That’s why many others in the restaurant and non-profit industry have also been mobilizing to bring groceries to immigrants who are in hiding. The Oaxacan-Mediterranean restaurant X’tiosu in Boyle Heights, one of the US’s most heavily Latino-populated neighborhoods, packed 150 bags of fresh produce, dried pasta and other goods that were delivered to people in need by local Oaxacan youth in June and they have continued to support undocumented families. The student-led group, Raíces Con Voz, coordinated food and care package deliveries to more than 200 families, and Aquí Para La Comunidad, which operates throughout southern California, has a growing waitlist.

“Vanny Arias decided to host an impromptu food drive in front of the Offbeat Bar in Highland Park, where she’s a bartender, after realizing people staying home were likely in need of groceries. … Arias organized with other community activists and volunteers to start dispensing basics.

“Once she launched an Instagram account, she started hearing directly from desperate families. ‘People said: “My husband got arrested” or “We’re afraid to leave the house and my kids haven’t eaten in days,” ‘ said Arias. ‘When you’re on the ground you see the hurt and pain in their eyes and hear it in their voices.’

“Since July, Arias’s Nela Food Distribution has grown to deliver free groceries to 150 people in and around Highland Park with the help of community donations, two local food warehouses, a bakery and a team of volunteers. ‘We’re a bunch of people who love their community,’ said Arias. ‘I don’t care what color you are, we’re freaking humans and I’m here for you. You’re not alone.’ ”

More at the Guardian, here. The Guardian is free, but please consider donating to them.

Art: NC Wyeth.
N.C. Wyeth’s “Apotheosis of the Family,” which hung behind the tellers in the downtown Wilmington Savings Fund Society for three quarters of a century, has been readied for public viewing at the artist’s grandson’s home in Wilmington, Delaware.

I have always loved the monumental paintings of NC Wyeth. Today we learn about his largest mural, which was created during the Depression and is getting a new lease on life.

Ralph Blumenthal writes at the New York Times, “As the Great Depression savaged America, a bank in Wilmington, Del., commissioned the protean illustrator N.C. Wyeth to soothe anxious customers with an epic tribute to the bounteous land and its laboring families.

“Known more by his initials than his given name, Newell Convers, he had long been a towering figure in American art, embellishing classics like Treasure Island. … Wyeth’s mural, in oil in five panels, came in at 60 feet long and 19 feet high — his biggest and one of the largest ever created for a public space in the United States. For three quarters of a century, it hung behind the tellers in the downtown Wilmington Savings Fund Society, inspiring visions of thrift and industry. And then it came down and disappeared.

“Now it has re-emerged in a gleaming new round barn on N.C.’s grandson Jamie Wyeth’s Point Lookout Farm outside Wilmington and near the Wyeth studios in Chadds Ford, Pa. …

“The 1932 work, ‘Apotheosis of the Family,” aims to welcome visitors by jitney from the nearby Brandywine Museum of Art [soon].

“N.C. Wyeth is enjoying a renaissance of sorts. His work will be included in the filmmaker George Lucas’s new Museum of Narrative Art, scheduled to open next year in Los Angeles. Five years ago, Wyeth had a retrospective at the Taft Museum of Art in Cincinnati, an exhibition that cited his influence on cinema. …

“In ‘Apotheosis,’ which celebrates the pinnacle of family, Wyeth … looms bare-chested dead center as a kind of superman, beside his wife, Carol, amid vignettes of harvesting, fishing, weaving and timbering as the seasons change. Pan plays the pipes, smoke boils from a campfire, and ships with billowing sails race for a distant shore. The foreground sprouts strange flowers hardly seen in nature.

“Prominent among other family models is Wyeth’s flaxen-haired son, Andrew, then 15 — destined to eclipse the rest of the famous art clan with his starkly realistic landscapes and portraits — drawing a bow and arrow and nude but for a modest blurry G-string. Next to him stands his sister Carolyn as a toddler, although she was actually eight years older. …

‘The work enshrines two of N.C.’s core beliefs — ‘love of family and the importance of land’ — at a terrible time when such values were especially precious. …

“After periodic restorations, most recently in 1998, the painting was pried off the wall and damagingly rolled up 10 years later when the bank was sold for conversion into apartments.

“The mural went to the Delaware Historical Society, which couldn’t place it. It was then bequeathed to the Wyeth Foundation for conservation, with Jamie, now 79, committing about $1 million for its reinstallation in a new round barn on his 250-acre Brandywine farm.

“Jamie is the widower of Phyllis Mills Wyeth, a philanthropist and socialite racehorse breeder. … As a tribute to his wife after her death at 78 in 2019, Jamie opened the pastures as a lifetime sanctuary for former racehorses. It also became a refuge for the nearly-century-old artwork. …

“ ‘I adore my grandfather’s work,’ he said. ‘He had more influence on me than my father.’ …

“Jamie, who was born the year after N.C. was killed in a bizarre train collision in 1945, recalled visits to his grandfather’s painting studio crammed with old muskets and cutlasses for his illustrations. …

“The story of the mural’s resurrection has many beginnings, but let’s start with the Wyeth patriarch: N.C., a descendant of early English colonists and maternal grandparents from Switzerland, who settled in Needham, Mass., where he was born in 1882. His father wanted him to go into farming but he was strongly drawn to art, winning acceptance as a star protégé of the pre-eminent illustrator Howard Pyle.”

Lots more at the Times, here. You will love how the Times animated restoration visuals by Caroline Gutman.

Photo: A nonprofit called Don’t Forget Us, Pet Us.
Kiki on her cart, which she moves around on her own.

Today’s article is from that section of the Washington Post that focuses on cheery stories, often about animals. We learn about a rescued sheep with a talent for learning new tricks.

Sydney Page writes at the Washington Post, “A sheep named Kiki zips around the yard of an animal sanctuary in a motorized wheelchair. She navigates on her own, tilting a joystick with her head to move forward and back, left and right.

“ ‘She’s like a crazy teenager; she wants to go very fast,’ said Deb Devlin, president of the Don’t Forget Us, Pet Us sanctuary in North Dartmouth, Massachusetts.

“Kiki was born with limited mobility and cannot walk. … At birth, Kiki’s mother rejected her and refused to feed her, which is not uncommon when a lamb is sick or disabled. The farm where Kiki was born didn’t have the resources to look after her and contacted Don’t Forget Us, Pet Us to see if they could help. Devlin went right away, in December 2021, to see the 11-day-old lamb.

“ ‘When I first saw her, I felt so sad for her,’ said Devlin, who co-founded the nonprofit sanctuary in 2016. ‘She was on this gentleman’s lap, she was wrapped in a blanket, and she was shivering.’

“Kiki can feel sensations from her neck down, though she is unable to move herself. During Kiki’s first months at the sanctuary, Devlin and other volunteers tried physical therapy, chiropractic treatments, laser therapy and even tendon release surgery. None of it worked.

“[So] Devlin began focusing on what Kiki could already do. She decided to experiment with toys as enrichment. … She got interactive, press-and-play children’s toys and quickly noticed that Kiki was able to operate them using her head.

“ ‘When she got the hang of the toy, she would press through the buttons until she got to her favorite song, “Twinkle, Twinkle,” ‘ Devlin said. ‘She would stop and put her head on it and gaze up, listening to the music.’

“Then Kiki began to dance. … Seeing how easily Kiki controlled the toys, Devlin suspected she might also be able to use a joystick to navigate. …

“Devlin and her team of five volunteers experimented with trying to adapt Kiki’s stroller into something she could maneuver herself, but they struggled to come up with a design. …

“After joining e-bike groups on social media for advice, Devlin tried a motorized wheelchair. She reached out to Mobility Equipment Recyclers of New England — a wheelchair store in North Kingston, Rhode Island — and secured a motorized chair for Kiki with the help of donations.

“Devlin then zip-tied a cargo stroller body to the wheelchair base and repositioned the joystick so Kiki could reach it with her head. The result was a cart Kiki could move on her own. …

“When Kiki took control of the wheelchair for the first time, everyone was stunned.

“ ‘It took seconds for her to start driving it,’ Devlin said [adding] it was clear Kiki knew what she was doing.

“ ‘She knows the cause and effect of that joy stick and that she is moving herself,’ she said. …

A video the sanctuary shared on social media of Kiki driving around the yard went viral, drawing thousands of comments.

“Everybody online finds her so inspirational,” Devlin said. “The only thing we were really lacking with Kiki was independent mobility, and now she has it.”

Of the more than 7,000 comments on a Facebook post of the video, Devlin said, the majority are positive. … Still, some commenters questioned her quality of life.

“ ‘For me, those reactions were very hard,’ Devlin said, explaining that Kiki gets regular wellness checks to ensure she isn’t in pain or discomfort. …

“Kiki eats and drinks, grazes, sunbathes, makes music with a chime set, watches Disney shows, listens to Taylor Swift and even kayaksShe dances and visits schools and meets with children who have disabilities, helping them feel less alone. …

“Now that Kiki can drive on her own, volunteers said she’s developed a sassy side.

“ ‘You tell her it’s time to stop and she’ll look at you and drive away,’ said volunteer Jess Bullock. … Bullock said despite her mobility challenges, Kiki seems like a very happy girl. …

“Devlin said Kiki’s story is one of resilience and hope. ‘She has had such an impact on so many,’ she said. ‘Everyone is just so taken by Kiki and her journey.’ ”

More at the Post, here. I guess I’m guilty of speciesism, but I admit that the thing I like best about Kiki is that her success cheers human children who have disabilities. What is your take?

Photo: Museum of Fine Arts, Boston.
Descendants of potter David Drake, seen at the Museum of Fine Arts with one of the artist’s works

If we are in a hurry for the many evils we see to be defeated, we’re likely be disappointed. But in time, even a foundering ship can right itself. The growth of initiatives to return artifacts stolen in the past is an example.

Jori Finkel writes at CNN that in a “likely precedent-setting agreement, the Museum of Fine Arts (MFA) Boston has agreed to return two works from 1857 by the Black potter David Drake, who made his ambitious jars while enslaved, to his present-day descendants.

“By the terms of the contract, one of those vessels will remain on loan to the museum for at least two years, according to the lawyer George Fatheree, who is representing Drake’s descendants. The other vessel — a masterpiece known as the ‘Poem Jar’ — has been purchased back by the museum from the heirs for an undisclosed sum. Now the work comes with ‘a certificate of ethical ownership.’

“ ‘In achieving this resolution, the MFA recognizes that Drake was deprived of his creations involuntarily and without compensation,’ a museum spokesperson said in a statement. ‘This marks the first time that the museum has resolved an ownership claim for works of art that were wrongfully taken under the conditions of slavery in the 19th-century US.’ …

‘Ethan Lasser, chair of the art of Americas at the MFA, said the museum has learned from its work restituting Nazi-looted art. ‘We’ve become very expert in Holocaust restitution. We’re dealing with (repatriation) issues in our African collections and Native American collections,’ he said over the phone. …

“He considers Drake’s work an example of ‘stolen property,’ too, ‘since the artist is always the first owner of his work and he never got to make the call about where it went or what he was paid for it.’

“Born enslaved around 1800 in Edgefield, South Carolina, a region known for its rich clay, Drake (who was also known as Dave the Potter) was one of relatively few African American potters to sign his work. He also dared — despite punitive anti-literacy laws for enslaved people in the state — to etch short sayings or poems on the jars, making them powerful acts of resistance. Some inscriptions boast of the jar’s intended contents or enormous capacity; others remark more poignantly on his own life or working conditions.

“The ‘Poem Jar,’ which the MFA originally bought in 1997 from a dealer in South Carolina, features a couplet that hints at Drake’s financial exploitation. The inscription reads: ‘I made this Jar = for cash/Though its called Lucre trash.’ Currently in a gallery for self-taught and outsider art at the museum, it will assume a more prominent spot at the entrance of the Art of Americas wing once renovated in June 2026. …

“Another jar made the same year, 1857, has a particularly wrenching inscription in light of Drake’s forced separation from a woman believed to be his wife and her two sons. That vessel, at the Greenville County Museum of Art in South Carolina, reads: ‘I wonder where is all my relation.’

“One of Drake’s great-great-great-great grandsons, the children’s book author and producer Yaba Baker, said he feels the restitution process offers one answer to that question. ‘It’s been exciting, overwhelming and feels full circle,’ he said in a video call. He praised the MFA for ‘showing integrity and leadership’ in ‘allowing us to connect to Dave’s legacy,’ noting that ‘to go from being slaves to having a family of engineers and doctors and people in executive positions is a testament to Dave’s legacy in a different way.’

‘These descendants began talking about getting involved in Drake’s legacy in 2022, upon the opening of ‘Hear Me Now: The Black Potters of Old Edgefield, South Carolina,’ an exhibition jointly organized by the MFA and the Metropolitan Museum of Art in New York. The family soon hired Fatheree, fresh from his win in the Bruce’s Beach land reparation case. Earlier this year they established the David Drake Legacy Trust, governed by five of the oldest heirs.

“So far there are about 15 family members involved, according to Fatheree, but they have created a website so that other descendants of Drake can be identified and join the efforts — what Fatheree calls ‘a big tent approach.’ …

“There are thought to be around 250 pots by Drake still in existence, and over the past five years the market for his work has exploded, driven mainly by American museums competing for pieces in the hopes of telling a more complex story about the history of slavery in the US. Several have paid six figures for his work, and in 2021 the Crystal Bridges Museum of American Art in Arkansas paid a record-setting $1.56 million for a 25-gallon stoneware jar at auction.

“Other museums that own Drake’s work include the Met, the Philadelphia Art Museum, the De Young Museum in San Francisco, the Art Institute of Chicago, Harvard Art Museums, the St Louis Art Museum and the Smithsonian American Art Museum in Washington, DC, as well as smaller venues in the American South.

“Fatheree confirmed he has begun to reach out to some of these other art institutions on behalf of the family. ‘Our approach has been one of collaboration and invitation. I am not a litigator; we did not go to the museum and file a lawsuit (or) threaten to sue them. But our hope and frankly our expectation is that other institutions’ — and private collectors of Drake’s work, he added — ‘will follow the Boston museum’s lead here.’ ”

More at CNN, here.

Photo: Marvin Joseph/The Washington Post.
Until Jagadish Shukla, meteorologists generally believed that predicting the weather beyond 10 days was a hopeless pursuit. He wanted to help farmers anticipate monsoons.

Did you ever read Erik Larson’s Isaac’s Storm, a book about a devastating hurricane in Texas before there was good weather prediction? That was the first time I heard about the “butterfly effect,” tiny changes in weather conditions with powerful results.

A researcher interested in chaos theory asked himself what could happen with more butterflies than one.

Anusha Mathur writes at the Washington Post, “Standing in his home office in Rockville, Maryland, meteorologist Jagadish Shukla gestured at the high-resolution satellite map of India hung on the wall. It shows every groove of his home country’s geological landscape in vivid detail. …

“ ‘The trick is how to find predictable components in a chaotic system,’ Shukla told me. …

“He’s come a long way from his childhood village in northern India, where he spent his summers playing outside and praying for rain.

“The most anticipated season of each year was the annual monsoon, he writes in his memoir, A Billion Butterflies: A Life in Climate and Chaos Theory. Monsoons follow India’s hottest period and last for months, providing both relief from the sun and fertility for the land.

“But the monsoon also can be a source of suffering. Some years the rain brings intense flooding, while in others there’s too little for a good harvest — or worst of all, drought and famine. …

In 1970, 26-year-old Shukla arrived in Boston to pursue a doctorate at MIT.  “His goal: find a way to predict the Indian monsoon’s seasonal impact.

“At the time, weather forecasters relied heavily on ‘initial conditions’ — how volatile factors such as temperature, pressure, wind or jet stream today might affect the weather tomorrow. As a result, meteorologists generally believed that predicting the weather beyond 10 days was a hopeless pursuit.

“Soon after arriving at MIT, Shukla learned about the ‘butterfly effect,’ coined by renowned meteorologist Edward Lorenz. Lorenz observed that even the tiniest changes in initial weather conditions — something as small as a butterfly flapping its wings — could make an entire system chaotic over time.

” ‘The idea is that if you change just one decimal point in your initial condition, you will get a different forecast after 10 days,’ Shukla said.

“Lorenz’s work made many scientists skeptical about whether seasonal predictability was worth focusing time [on]. But Shukla’s felt sure that — at least for the monsoon — there was knowledge to be gleaned from the chaos. …

“Then came the breakthrough. While daily weather is driven by volatile initial conditions, seasonal averages are shaped by something else, ‘boundary conditions’ such as ocean temperature, soil moisture, snow cover and vegetation. And these boundary conditions are a source of predictability. …

“Said David Straus, a climate dynamics professor at George Mason University who worked with Shukla, ‘Shukla had a really outsize role in saying, ‘Look, all these little pieces of evidence in the past are there, we can use them together.” ‘ …

“Shukla’s team ran simulations in which they dramatically changed the initial conditions — the metaphoric flutter of billions of Lorenz’s butterflies — while keeping the boundary conditions fixed. Despite the day-to-day instability, the seasonal outcomes remained consistent. It was the origin of the phrase ‘predictability in the midst of chaos,’ which became the title of Shukla’s bellwether paper, published in the journal Science in 1998. …

“As Shukla deepened his work on dynamic seasonal prediction, a new scientific field was emerging: climate change. Throughout the 1970s and ’80s, Shukla’s colleagues repeatedly asked if he would turn his attention to global warming. …

“He ‘wasn’t convinced yet’ about global warming. He worried the claim of human-induced climate change was too bold, too early.

“Finally, in 2004, he accepted an invitation to serve on the United Nation’s Intergovernmental Panel on Climate Change (IPCC) to work on its fourth comprehensive assessment of the climate. …

“In the bombshell IPCC report, published in 2007, Shukla and his fellow scientists declared that the ‘warming of the climate system is unequivocal’ and identified ‘discernible human influences.’ That year, the panel received the Nobel Peace Prize for its work, along with former vice president Al Gore, with Shukla sharing in the honor.

“ ‘I cannot accept something simply on faith and belief,’ Shukla said. ‘The reason 2007 got the Peace Prize was because it was the first time our model said, “Oh, it’s now beyond the uncertainty.” ‘ “

Read at the Washington Post, here, how climate-denying members of the US House put Shukla under an intense and vicious investigation in 2015. Despite the misery of that period, he says, “It’s a small price to pay to defend the integrity of climate science. … If we don’t defend it, who will?”

Boo!

Photos: Suzanne and John’s Mom.
A playful resident at our retirement place decorated the woods with little ghosts.

Do you like Halloween? I know some people don’t: they turn out their lights, lock up, and go away for the night. But I have always liked Halloween. I looked forward to it when I was a kid and was planning my costume for weeks, and also as a grownup handing out treats to trick-or-treaters. I especially love seeing the excited little ones in their costumes.

For some years, John has been master of ceremonies for the cutest little costume fashion show in the park near his house, and it’s all about the youngest children.

Neighbors everywhere stock up on goodies and hope for a day that’s not too cold or wet. Even come folks in my retirement place put on wigs and costumes, but for me, it’s only Halloween if there are little kids around. My Jack-o-lantern tried its best, but its flashing light didn’t show up in our bright hallway.

Photo: CBS.
Topper was a television series based on the 1937 film Topper, which was based on two novels by Thorne Smith. Topper’s house was haunted by the ghosts of the former occupants.

At least as early as Ancient Greek playwrights, thespians have had to find ways to create ghosts onstage — and later, in film. Today’s story for Halloween explains how it can be accomplished.

Margaret Hall writes at Playbill, “Theater has always been good at making the unreal feel like it is in reach. Whether it be transporting an audience across time, space, or even dimension, the suspension of disbelief that theatre inspires is a rife playground for the imagination. Audiences eat up the opportunity to believe in the impossible. …

“That impossible belief has, for centuries, included a glimpse into the afterlife. Be it Hamlet’s ghostly father or the hallucinatory son in Next to Normal, theatermakers love to explore what may be just outside the realm of our awareness. Over the centuries, a whole host of techniques have been developed to demonstrate the concept of ‘spirit’ onstage. …

“Perhaps the most important technical advancement in the art of stage spirits is Pepper’s Ghost, an illusion that has been so successful that it has changed our very conception of what a ghost is supposed to look like.

“Before Pepper’s Ghost, spirits were most commonly portrayed as quasi-corporeal, walking the same floorboards as the living and obeying many of the same rules of physics that govern flesh and blood. After all, how is a ghost supposed to make the haunting sounds of footsteps if their feet never touch the ground?

“Pepper’s Ghost changed all of that. Named for the English scientist John Henry Pepper, who popularized the illusion in the 1800s, the technique is an early example of projection work onstage. … While the Ancient Greeks had to rely on body doubling and shadows to project different forms, Pepper’s Ghost harnessed light. Using a specially arranged room out of view of the audience, a plate of glass would be placed at an angle to reflect the interior of the hidden room out toward the audience.

“While the glass would remain hidden for much of a performance, at key moments the stage lighting would be angled to catch the reflection of a brightly lit actor in the hidden room. The audience would then perceive the hazy projection as a ghostly figure located among the actors on the main stage. Due to the necessary angles needed to make the glass undetectable, it was functionally impossible to make the projected actor appear as though they were standing on the same floor as the actors on the main stage. Instead, a floating ghost was popularized, as was the idea of a ghost fading in and out of visibility (such levels of solid-ness could be adjusted by dimming or brightening the light shone on the hidden actor).

“Pepper’s Ghost immediately became a sensation. Imagine how it must have felt to watch Macbeth swing to strike the ghost of Banquo for the first time, only for his sword to pass through him! … While the technique is now nearly 200 years old, it is still employed across the globe. …

“The principles of Pepper’s Ghost serve as the foundation from which many more digitally based techniques have since developed. The use of reflection, light, and spatial projection are practically the cornerstones for modern stage illusions.

“It’s no secret that projections and LED screens are all the rage on stage these days. Their ability to transform a space with very little transition time is prized, bringing elements of the filmmaker’s toolkit into the theatermaker’s arsenal. While some shows now rely on digital projections (remember Dear Evan Hansen?), many have found a middle ground, blending the digital and the practical to great effect.

“Consider McNeal. … While the dead remain six feet under in the new play, the show does deal with a modern kind of poltergeist: Artificial Intelligence and its impact on the art-making process. McNeal incorporates a number of cutting-edge digital techniques, including deep-fake technology (which digitally alters images and videos of real people), and generative artificial intelligence (which creates images out of written requests).

“At various points in the play, star Robert Downey Jr. is transformed on screens built into the set using deepfakes, appearing at various points to be Ronald Reagan, Winston Churchill, Barry Goldwater, and more. … In McNeal’s climax, director Bartlett Sher strips away the technology, going even further back in theatre illusion history than Pepper’s Ghost to call upon one of the simplest analog tricks: body doubling. After an hour of high concept digital effects, the switch back to practicality is shockingly effective.

“Though digital effects have become more common in recent years, for many ghostly shows, practicality is becoming the hot new trend. After all, when you can’t trust anything you see on a screen, it is easy to yearn for the simplicity of something happening right in front of your eyes. In Les Misérables, the ghostly personages of Fantine and Eponine in the finale are simply played by the original actors draped in white, as are the ghosts of Our Town. …

“While it is important to explore the options new technology can open, it is also key to remember that sometimes, the simplest answer is the smartest.”

More at Playbill, here. Is anyone old enough to remember the ghostly couple (and their ghostly St Bernard) from the 1950s TV show Topper?

Photo: Larry Price/The Guardian.
Diné voters ride on horseback through the Navajo Nation to the polls in 2020. Allie Young, a Diné grassroots organizer, started the Ride to the Polls campaign.

Elections never stop being important, and next Tuesday, Nov. 4, will be a critical one in many parts of the country as we struggle to shore up democracy. Today we learn about how hard indigenous people sometimes work to get to the polls.

Melissa Hellmann wrote at the Guardian last year about Navajo people’s understanding of voting as an important way to protect the environment.

“In Diné, or Navajo, culture, the horse symbolizes strength and resilience, as well as a connection to the earth. Cowboy culture is so relevant to Native communities, that horseback trail rides are used to draw awareness to issues within the community including suicide prevention, and alcohol and drug use, said Allie Young, a 34-year-old Diné grassroots organizer. This fall, Young has harnessed the trail ride to engage Diné voters for the presidential election: her group’s voter-registration events will culminate with 100 Indigenous voters riding on horseback to a polling station in Arizona on election day. …

“Young, founder of the Indigenous-led civic engagement program Protect the Sacred, told the Guardian. ‘[When] we’re connected with the horse, we’re then reconnected to Mother Earth and reminded of our cultural values and what we’re fighting for, what we’re protecting.’ …

“Political representation that brings needed resources into Native communities is particularly important on tribal lands, where 75% of roads remain unpaved. …

“Young said she hopes that the success of the Ride to the Polls campaign in 2020 and 2022 will encourage ‘the greatest Native turnout ever’ in the upcoming election. This year, the campaign has extended its reach with events such as skateboarding and bull-riding competitions, heavy metal and country music concerts.

“ ‘We’re trying to communicate to our community that we need to protect our tribal sovereignty,’ said Young, ‘and with that, protect our sacred sites, protect our lands, our cultures, our languages, our traditions.’

“Young launched the Ride to the Polls campaign in 2020 in response to the rapid spread of Covid-19 infections in the Navajo Nation, where some counties saw the highest death rates per capita in the nation. She wanted to ensure that her community filled out the US census to receive the funding they deserved and to elect politicians who prioritize the concerns of Native communities.

“ ‘Our nation and many tribal nations across the country were devastated by the onset of Covid-19 because our system is being chronically underfunded,’ said Young, ‘which revealed to the rest of the world what we already know: that the government is not honoring our treaty, which says that we are to receive good healthcare and education.’ She began creating culturally relevant initiatives so that young Diné citizens who felt disenfranchised would see voting as a tool to ‘rebuild our power as a community.’ …

“So far, they have registered 200 new voters and checked or updated the registrations of about 400 people.

“On 12 October, the actor Mark Ruffalo will join Ride to the Polls to help mobilize Native voters and to mark the 100th anniversary of Native Americans being granted the right to vote. …

“ ‘Indigenous people have only been able to fight for their future at the ballot box for 76 years,’ Ruffalo said in a statement. ‘Now we’re seeing a massive movement of young Indigenous folk exercise their power at the polls.’ …

“All Native Americans were finally granted the right to vote under the federal voting rights act of 1965. Still, barriers have remained that make it difficult for Diné to register to vote and cast ballots, including a lack of residential addresses since many people on the Navajo Nation use post office boxes. It also can take up to an hour to drive to a polling location, said Young. And this summer, the US Supreme Court ruled that Arizona can enforce a state law requiring prospective voters to include proof of US citizenship in registration forms, which Young said was a ‘slap in the face to Native Americans, who are the first peoples of this land, to be asked to prove their citizenship.’

“To help address some of those hurdles, Protect the Sacred is partnering with the Indigenous-led voter-engagement non-profit Arizona Native Vote. Indigenous organizers register voters and help residents find their addresses by locating their houses on Google Maps. ‘A key talking point when we talk to voters is letting them know that voting and registering to vote should not be this hard,’ Jaynie Parrish, executive director of Arizona Native Vote, said. …

“During a six-stop trail ride to register Diné citizens throughout the Navajo Nation in mid-September [2024] indigenous organizers discussed with voters the importance of casting ballots in every election. They served citizens stew and frybread while explaining to them that county elections can determine how local government operations are funded. Young said: ‘I believe that we started a movement around the power of the Native vote.’ ”

And so, they voted. We know what happened in 2024, and we know what has been happening to environmental protection since then. But every election counts in moving the needle back toward the people. So, please vote on Tuesday and at every election in the future.

More at the Guardian, here.

Photo: Walaa Buaidani.
Mona Araghili showcases aghabani embroidery at the Threads of Hope exhibition in Damascus, Syria. Post-Assad, she sees an opportunity for serious investment in traditional crafts.

“Threads of Hope” is a phrase that seems to cover a lot of what is going on in the world. Hopes may be hanging by threads, but every day they can strengthen. In today’s article from the Christian Science Monitor, the words are applied to the reemergence of traditional Syrian embroidery after the fall of the Assad regime.

Dominique Soguel writes, “By the time Ameera al-Hammouri was 10, her hands were dancing across the taut fabric beneath her grandmother’s aghabani embroidery machine. She was too short to sit, so she stood, working the foot pedal to coax floral patterns from metallic thread and her own memory.

“Decades later, in a rundown apartment building on the outskirts of Damascus, her machine now runs on an erratic supply of electricity. The building’s elevator no longer works and many of its windows are broken, but inside the sanctity of Ms. Hammouri’s spotless home, the artistry lives on. ‘Working on the embroidery machine for me is like drawing on paper,’ she says. … ‘Whatever I imagine, I bring to life with my hands.’

“Aghabani embroidery originated in Damascus more than 150 years ago, blending Ottoman, Arabic, and Persian design influences. Traditionally, patterns were hand-printed in Damascus onto fabrics that were then sent to Douma, about 8 miles from the capital, where women embroidered them at home. Their work, displayed on tablecloths and other household items, became a hallmark of Syrian hospitality.

“Today, the survival – indeed, the revival – of this craft tradition rests in the hands of women from Douma, a city synonymous with both resistance and ruin. The women behind these works are not only artisans. They are mothers, widows, and survivors of siege, displacement, and economic collapse.

“Ms. Hammouri herself endured all of it. Her husband and eldest son were arrested in 2012 and never returned. Douma was subjected to a five-year siege, when government forces surrounded the city, cutting it off from food, medicine, and fuel. Ms. Hammouri’s house was destroyed. As the bombs fell, she moved her children from house to house, basement to basement.

“The siege ended in 2018. With no income and no husband, Ms. Hammouri turned to the one thing that had always grounded her: her original aghabani machine, bought in 1988 with money she scraped together by selling her wedding gold and other treasures. It still stands in a corner of her bedroom, alongside a newer model.

“ ‘I talk to this machine,’ confides Ms. Hammouri, who is known in the community as Umm Meriee. ‘It holds my secrets. I’ve cried over it.’

“At first, she worked quietly from home, taking orders from traders who remembered her family’s reputation and bought pieces for export. Over time, she began training other women.

“If Syria’s current political opening brings more trade and tourism, she says, crafts like aghabani could once again become a source of stable income rather than just a means of survival.

“Now, twice a week, her apartment fills with the chatter and laughter of industrious women. … This gathering of women is not a formal enterprise. There is no signboard or registration, no website to market their work. But family reputations endure in a country where word of mouth is the norm.

“ ‘They know my name in the market,’ says Umm Meriee, recalling how she revived ties with shopkeepers in the Al-Hariqa market, in Damascus’ old city, because her aunts and grandmother had put the family name on the map. …

“For Mona al-Masri, a Tuesday regular, embroidery is her identity. … While her colorful pieces earn heartfelt ‘wows’ from her daughters, it is next to impossible to eke a living from this craft. In a good week, working three hours a day in between bouts of housework, Ms. Masri earns just over $6. … Despite the skill and time aghabani requires – a single detailed motif can take hours, and a full tablecloth might take a week or more to complete – handmade aghabani cannot compete with cheaper, machine-made imitations that dominate the local market, such as those imported from China.

“ ‘Right now, aghabani has no future,’ says Ms. Masri. But with government support, she feels that future could ‘be a very bright one.’

“Mona Araghili shares that optimism. … More than a decade ago, Ms. Araghili set up Threads of Hope – Aghabani with little more than a social media page and materials she borrowed from friends. With her college friend Basheera Baghdadi, who had grown up in Douma, she smuggled fabric and thread into the besieged city, using tunnels and roundabout routes through the countryside. …

“Ms. Araghili never shut down her group’s Facebook page, she says. ‘I always hoped that we could restart someday.’ ”

More at the Monitor, here.

Photo: Melanie Stetson Freeman/CSM.
One Man Swamp Band street musician Brian Belknap performing in the French Quarter of New Orleans in April.

Here’s a story of resilience, 20 years after the devastation of Hurricane Katrina in New Orleans, Louisiana.

Patrik Jonsson writes at the Christian Science Monitor, “When Hurricane Katrina careened into Mississippi and Louisiana 20 years ago this week … the overtopping of New Orleans’ levees caught local, state, and federal officials flat-footed in the days after the storm’s Aug. 29, 2005, landfall just east of New Orleans, near the Pearl River. …

“As I head back to New Orleans ahead of the 20th anniversary of that historic storm, looking to chronicle the growth that has taken place since that disaster threatened to wash away the soul of this vibrant city, I’m following some of the paths I took when covering the aftermath of Hurricane Katrina, remembering that time, those scenes.

“Twenty years after that catastrophe, New Orleans’ larger recovery has been a complicated story of progress, ongoing challenges, and missed opportunities.

“It was still a lawless city when I arrived in 2005. As dark descended and I settled into my van for the night, so did fear. Rumors abounded – most outrageous, but some not far from the truth about the human toll. About 1,800 people are believed to have perished during Katrina and its aftermath, most from the storm surge in Mississippi and catastrophic flooding in New Orleans. The most expensive natural disaster in United States history, it caused over $200 billion in damage. …

“Communities reemerge, but they reemerge differently. People search for what once was – a piece of flatware, a boat transom, a bent-up old .22 rifle. Or an old guitar. They drag the past from the wreckage and use it to imagine the future.

This year, I’ve brought my Guild A-20 dreadnought guitar, my road companion. I’m realizing that this reporting trip is also to build a connection across the decades – maybe one as rickety and rusty as that old Huey Long – and to see the effects on communities and people, including myself, and how they recover. …

“This time I am staying in a rental, a shotgun-style short-term place near the Tremé, the city’s iconic music district.

“I go to a nearby coffeehouse the next morning, where schoolkids in uniforms are already plinking away standards on a well-tuned upright piano. Wrens are cajoling amid the Magnolia grandiflora. I sip chicory-infused coffee and chat with the shop owner about a day that’s dawning with surprising coolness.

“Afterward, I find a great, steep stoop from where I can less watch but rather consider the city. I grab my Guild and sit down, strum some cowboy chords in B major, and noodle some lines from my reporter’s notebook: ‘She’s an angel, even when she’s falling down / She’s an angel, in the wrong part of town.’ …

“Brian Belknap traded a guitar for a life in New Orleans.

“The Chicago native arrived a decade ago, well after the ravages of Katrina. Like so many before him, he fell for the languid city’s slow charms. With little money, he lived on the streets for a while, busking for change. But then he traded his 1942 Martin D-18 for a battered shotgun shack in St. Roch. …

“Every day, Mr. Belknap walks into the French Quarter in the early, cooler parts of the day, setting up the instruments that now make up his One Man Swamp Band on Royal Street.

“ ‘There’s still desperation here,’ Mr. Belknap says. ‘But out here it’s an intimate experience. The people are close. The music is everywhere. Even in hard times, the sense of joy is unmistakable.’

“To punctuate that point, he grabs an accordion, gives a kick on a high hat pedal, and rolls into an original song about folks stomping the varnish off a dance floor.

“Though he’s not a native, in some ways Mr. Belknap’s presence here is a small part of New Orleans’ recovery. The city lost a third of its population after the hurricane. But it has been bouncing back – though not to what it was before Katrina.

“There’s a new $15 billion system of levees, floodgates, and drainage canals built to better withstand storms like Katrina. The public school system, among the worst in the country before 2005, has been revamped. Today, graduation rates have risen significantly, and more New Orleans high schoolers are going straight to college than before.

“But the city continues to grapple with the lasting impacts of the initial federally funded rebuilding plan, called Road Home. Over $9 billion in federal funds was allocated for residents to rebuild – but within a tangle of Byzantine application procedures. Disbursements, too, were based on property values before Katrina struck. This left mostly Black, low-income residents with far less to rebuild, and long-standing racial disparities continue today.

“ ‘Katrina in many ways reshaped the way we think about vulnerability in disasters,’ says Jeannette Sutton, a sociologist who studies emergency preparedness at the State University of New York at Albany. Road Home and other programs, she says, have proved that ‘If you were poor before a disaster, the [disaster response] is not going to improve your well-being’. If you were barely getting by before, you’re not going to be better off with the funding in the aftermath. But those who could ‘afford’ a disaster are probably going to recover pretty well.’ …

“Gentrification has also changed the flavor of New Orleans in many ways. The city continues to debate limiting short-term and highly profitable tourist rentals – like the one I’m staying in – which create a demand for housing and cause other rents to rise. The checkerboard of empty lots in the hard-hit Lower Ninth Ward, too, still defines many of the failures of the federal rebuilding plan. …

“Liz LeFrere was 8 years old, living in New Orleans East, when Katrina struck. She thought she’d miss a day or two of school. Four months later, the family returned to live in the broken city, since her father was a police officer.

“Ten years ago, when she was a student at Tulane, the campus flooded on Aug. 29 – the Katrina anniversary. Ms. LeFrere broke down in uncontrollable tears. ‘It came out of nowhere,’ she says. ‘It’s definitely part of a communal trauma.’

“Yet the storm’s indelible impact also created a new life for her. Today, Ms. LeFrere is part of an artist collective dedicated to understanding Katrina and its aftermath through art – including massive portrait murals that now dot and define the city.

“Artists like Ms. LeFrere are committed to telling a tangibly redemptive story. ‘The art is where expression can be a catalyst for change,’ she says. The murals ‘help create a sense of people seeing themselves reflected in the face of the city. The narrative of New Orleans expanded.’ ”

There’s a lot more at the Monitor, here. Impressive photos. No paywall, but subscriptions keep responsible news coming. Reasonable prices.