A beech tree’s last stand


A beech tree’s last stand

A towering old beech tree binds a community as its majestic limbs begin to falter.



By Sarah Baker / May 7, 2010

The first time I saw the tree was when my husband, Tim, dragged me to look at a run-down house he saw listed on a real estate agent’s website. As this was one of his hobbies, I was used to it. It was an icy night and he had to cajole me out of the car. The tree stood off to the side, but I was so distracted by the decrepit nature of the house and Tim’s can-do smile that I only glanced at the looming presence, registering Big Tree Off to Left.


Tim’s can-do smile turned into a purchase and a 13-month renovation. Well, an overhaul. Most of those 13 months we spent inside tackling tedious decisions like what shade of white we should paint the walls. Neighbors strolled by to check our progress but seemed less interested in the house and more in the fate of the tree. “What’s happening with the tree?” asked one. And another, “My kids grew up playing on that tree. I hope you’re going to keep it.” I sensed a slight nervousness, even hostility, in their questions. Did they think we might cut it down for a driveway, or maybe even a three-car garage?

I added these perceived reproaches to the many reasons why I thought we had made a mistake buying this house. Stuffy town, nosy neighbors. I hoped that if I accumulated enough complaints we might finally pack up and leave Massachusetts, returning to New York City. I had been perfectly content in our Upper West Side building with 49 apartments and neighbors to chat with in the elevator. OK, not the crazy lady with all of the cats. But, with more than 10 children our children’s ages, we never wanted for play-dates or community. And trick-or-treating was so efficient.

After a few visits from our Cambridge neighbors, I decided to look closer at this tree. It was a beech, taller than our three-story house, and its canopy shaded the whole south side of our yard. Limbs grazed one neighbor’s roof and aimed for another across the street. One branch dipped to the ground and curved back up, forming an elongated U. The trunk measured more than four feet in diameter and the root crown reminded me of elephant toes. The silvery blue-gray bark resembled cracked leather. The leaves were light and feathery, like ferns.

I stood next to the trunk and looked up. Aside from my visit to see California redwoods in Muir Woods, I had never seen such majesty. This was one serious tree, or as someone later commented, “one, big, beautiful plant.” And – gulp – it was on our property. Big responsibility.

Shortly thereafter, we moved in. The tree became our mecca. My kids were glued to the swings that we hung from its branches. Neighborhood kids clambered over it. Everyone in our small community had a story about it – losing a ball in the fallen leaves, carving initials into the trunk. Or they had a nickname for it – the dragon tree, the elephant tree.

One afternoon, two years later, I found a piece of bark lying on the ground near the trunk. Over the next couple of months, a few more pieces fell. I called an arborist to take a look. His diagnosis was cautionary. The tree was stressed and needed deep watering and fertilizing.

We did everything he suggested, but bark continued to shed. For the next two years, we nursed the tree while other arborists paraded through and prescribed additional treatments.

Over time, whole sheets of bark began falling. And then, entire branches withered. Eventually, half of the tree was dead. The other half, facing our house, was struggling in a last, desperate gasp. Every square inch was teeming with tuftlike greenery, like a rain forest.

An arborist delivered the dreaded news. He told us the tree wasn’t safe; we needed to cut it down. That night, unable to sleep, I wandered into the hallway and found my daughter awake. We tiptoed to the window to look at our beloved beech.

For the next couple of weeks, my family couldn’t shake its grief. Life without the beech seemed unimaginable. How could it have died on our watch? Had we loved it too much? Done something wrong?

A week before the fated Tuesday, Bill from next door interviewed me about the tree’s decline. He videoed the wormholes, beetle infestation, and rot and e-mailed it to our neighborhood listserv. On Sunday, we hosted a goodbye party. Thirty neighbors gathered around the beech for the last time. There were people I had never met or even seen before. Our reclusive neighbor across the street showed up. A family with a days’ old baby took its first outing. Bill shot another video for those who couldn’t come.

Tuesday morning arrived with a crane and a lot of saws. A group of us stood vigil as the lumberjack felled the tree limb by limb. At the end of the day, all that remained was its massive stump, stacks of firewood, and piles of sawdust. That evening we sat on Bill’s porch facing where the beech used to be. We stayed until it was dark.

Somehow through the dying of our tree, I began to let go of New York. I got to know my neighbors. There was a huge hole where the tree had been, but I didn’t want to live anywhere else anymore. Bill made one final video, of the tree coming down. It ended with a postscript, “Before the tree came down, we felt the loss. Now we’re surprised by how much we feel the light.”

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The sweaty palm test

I’ve been reflecting on a conversation I had with my classmates of what makes great art. I’ve asked this question as long as I’ve looked at it–since my second job out of college working at Butterfield & Butterfield, the auction house in San Francisco. Part of my job was cataloguing estates when they came into our warehouse. I saw everything from Giacometti sculptures to hospital beds, 18th century Japanese screens to velvet glow-in-the-dark paintings of Elvis. Now I knew a hospital bed wasn’t art. But people paid top dollar for the rest. I usually relied on the experts in the various departments to tell me if something was collectible. I didn’t know. And as eBay has since proved–one’s idea of trash is treasure to another.

But then one day I stumbled into a Mark Rothko exhibit. I can’t even remember where or when. There I was standing in front of a row of his striped canvases. You know what I am talking about, right? Although the form was the same in each painting—two boxes of color separated by a thin line—each one affected me differently. Some of them made me feel calm, others anxious. Some made me melancholy, yet others excited. That seemed pretty powerful. (Music has always affected my moods but up until that show I hadn’t been aware of pictures doing that.) “Aha”, I thought, maybe there’s something to those color swatches after all.

So, I started to wonder…if a work of art transcends out of its medium to become something larger than just a painting on a wall, or an actor on a stage, does that qualify as great art? If it makes my heart flutter, or my palms sweat, and I look at the world differently, I think it is then revealing a hidden truth about who we are. That’s a hard test to pass. If it does, I vote for it qualifying as great art.

(But then again, maybe some people get sweaty palms when they see a hospital bed.)

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When is theater too shocking?

Last Spring, I spent a week following a burlesque dancer. I’m not trying to be racy; it was for a profile I was writing. I first met Miss Mina at Café Crema in Harvard Square and then I watched her in rehearsals and finally, because I had a deadline, I needed to see her on stage. Her only show that fit my schedule, “Naked Ladies Reading,” was something that originated in Chicago and Mina’s troupe, Boston Babydolls, was debuting it at the Oberon. In our first interview, Miss Mina had said, “BostonBabydolls don’t usually get naked. That would make them strippers. BostonBabydolls are burlesque dancers and they practice the art of the strip-tease.” Semantics. Clearly, she was making an exception this time.

So, I lined up at 10 p.m., outside the Oberon, feeling a tad uneasy. It was a bunch of middle-aged flashers in their overcoats and me. (Or at least my anxious mind perceived them as such.) I disappeared into the back of the room trying to be as invisible as possible and pulled out my notebook. The lights dimmed and the spotlights went on six women dressed in various interpretations of nightwear–silk robes and kimonos dominated—but most also wore jewel-encrusted stilettos and chandelier earrings. They were reclining on red velvet coaches in their bordello. One by one they each glided, strolled, or even plodded up to the microphone, dropped their robes, and started reading. First, I didn’t hear a thing because I was so distracted by body shapes, piercing locales, and degrees of wax jobs.  After I caught my breath again, I settled in to be entertained. What I quickly realized was that the nakedness was irrelevant. It was just “Holy Sh*t theater.” What mattered was if the woman was an engaging reader. And most of them weren’t. After about 20 minutes I realized this “Holy Sh*t theater” had lapsed into “What the F*&#? theater.” I walked out.

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Dreaming of Storm King

The front page of The New York Times art section this morning has a large photo of Maya Lin’s outdoor installation, “Storm King Wavefield” at Storm King Arts Center in Mountainville, New York (one hour north of Manhattan). “The work, which had its debut in May 2009, is made up of seven parallel rows of long, undulating, grass-covered earthen mounds” according to the article. The photograph makes it look like a verdant ocean of gently rolling swells. It’s beautiful in its simplicity.

I’m struck by the timing of this article. For me, September represents transition and change–the end of carefree and the return to structure. Storm King embodies these themes. Its monumental sculptures are set on 500 acres surrounded by the tumbling hills of the Hudson Highlands.  The sculptures I always return to: Mark di Suvero’s Pyramidian, made of massive steel I-beams; Isamu Noguchi’s Momo Taro, a nine-piece, 40-ton stone grouping; and David Smith’s steel and bronze works represent immutability against their always-mutable backdrop—the sky, the light, the wind, and the landscape. In times of transition (and my favorite time to visit Storm King is September) these sculptures have symbolized solidity. They have provided me with solace.

But “Storm King Wavefield” seems to send a different message. It’s both steadfast and morphing. Its underlying form is permanent, but its outer layer, grass, is not–it grows, it yellows, and it moves. Maybe this newest sculpture, one of the few made by a woman at Storm King, is offering me something new this September.

(What? I’m not sure. When I see it in person, I’ll get back to you.)

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LeDray at the ICA

The title of Charles LeDray’s show at the ICA in Boston is “workworkworkworkwork”. And let me tell you, that is what he did. This New York-based artist spent over twenty years gathering, cutting, stitching, fashioning, building, and sculpting a miniature world out of fabric, carved bone, and clay. One installation contains three small-scale replicas of second-hand clothing shops packed with suits, hats, and overcoats, even briefs for the Lilliputian-set. Another room contains cases of tiny ceramic vessels, each unique, and each less than two inches tall.

But this is not Bonpoint for your baby dolls. The clay pieces are pristine but the clothes are tattered and yellowed as if the wearer was in Fagin’s clan of pickpocketers. There is a sadness that hangs over this show as if each article represents a lost dream.

I wonder how LeDray views the world after hours spent in his studio creating his thimble-sized world? Maybe, it’s like leaving a fun house with distorting mirrors, or Alice emerging from the rabbit hole. If anyone questions the tedium of making art, and thinks it’s all gallery openings and glam, they need look no further. Like the ICA’s earlier show of Tara Donovan’s work, the Charles LeDray proves that great art takes time, patience, commitment, and maybe a little OCD.

Side note: I took my children, ages 7 and 10, and for them the show could have been titled “playplayplayplayplay”. They didn’t feel the mournfulness that I did; they were in awe of LeDray’s imagination, detail, and skill.

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