Night Light

As a child, I always assumed that night time meant the complete absence of light. Of course, that was when my youthful imagination came into play based on the many Saturday morning cartoons I watched that always depicted "night" as a solid black screen, often with just two big cartoon character eyes glowing in the middle of it. Since then, I've lived in many different places where the night is hardly ever completely dark, due mainly to the glow from street lights and the porch lights that some people leave on all the time.

My first exposure to total night darkness came when I moved to the woods of Lyman, Maine in 1999. There, I experienced as complete a blackness as is possible, which was hard to get used to at first. But it didn't take me long to come to appreciate it as a comforting shroud that descended on my world at the end of the day. The sounds that came from those woods at night also made for an interesting study in the habits of nocturnal animals, and to which I thrilled each night as I turned off my lights.

In time, though, I realized that, no matter where we are, no night is ever completely devoid of some shred of light, and that is best illustrated when the moon is full or in winter during a snow event. I can still remember how the light from a full moon pierced through the tops of the trees to depict their trunks as long shadows on the pale beige ground. As the moon moved in the sky, the shapes changed accordingly until dissipating at the sun's first touch. If clouds moved in to block the moon's light, the night was still brighter than on nights when the moon had completely waned, bathed in an eerie muted glow that cast everything around me into misty unidentifiable shapes.

After a winter storm, however, moon or no moon, I learned there is always some residual light lingering in the atmosphere, and it is this that the snow appropriates as its own, bouncing off snowbanks, rooftops, from tree branches and reflected on every single falling flake. Snowy nights in the woods are far from dark, and I often went out to experience this along with the softened silence and whispers of flakes falling on dried leaves.

There was a full moon last night, and once again, my bedroom was bright and the shadows of trees outside my window sharp and long. In spots, the snow was shiny like a new nickel, and in others, its accumulated mass sparkled like piles of gems, free for the taking.

And once again, I joyfully partook and sent the moon my silent "thanks..."

*****

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Layers

There's an intriguing quality to woodlands that I like to call the layered effect. It's most obvious when staring into a forested area that spans a large area and is composed of many different species of trees and other growth. Those in the foreground appear, of course, the clearest and offer the most detail. Pine needles, branches and leaves are all visible, distinct one from the other. But as the eye moves more deeply into the denser growth, images begin to blur, until they appear as layer upon layer of subtly different shades of greens and browns.

There, the edges of distinguishable shapes like leaves and branches blur, and smaller objects, such as individual pine needles, join to produce a tufted look when framed by the more delineated shapes of large boughs and trunks. Colors soften, and from that distance, pine boughs take on a bluish tint depending the slant of the light, becoming the stuff that woodland fantasies are made of.

This so-called layering process extends to all of life, from the air masses that exist above us to the ground we walk on. From its core outward, the planet we call home is a series of mineral masses that have continued to build on top of each other over billions of years. The uppermost layers, called plates, move constantly, releasing some of the intense pressure trapped beneath them in the form of earthquakes and volcanoes.

The oceans are composed of layers of water that start out relatively warm at the surface and get progressively colder toward the bottom. Clouds are layered masses of moisture, the air we breathe is just one layer in what we call our atmosphere, and in winter, snow accumulates in layers between storms. As all things grow, they do so by a process of new growth covering, or being covered by, old growth, as illustrated most distinctly in trees, whose new tissues emerge as rings that can be counted once they are cut down. As smaller plants grow, they do so as layers of new tissue displacing the old, snakes shed old skins to make room for the new, and even we humans evolve through growth that involves a layering process that takes place within and without.

Stylists speak of hair layering, painters apply pigment in layers toward the perfect finish, and masons put down stacks of foundational materials. We polish our nails with multiple coatings, we dress in layers against the cold, and even our lives could be said to be layers of experiences, one following another, each resting upon those that came before it.

Physically or philosophically, much of life evolves by degrees that often manifest themselves as shapes, objects, events or outcomes superimposed one upon the other. And the woods mirror that, in the detail they show us up close and layered against blurred masses of color and substance that act as backdrops, lending perspective and assigning meaning to what we are seeing. In this sense, nature is forever making connections between all forms of life, between the real and the abstract, between the clear and the hazy, between the lives of woodlands and wild creatures and our very own.

Looking deeply into the woods is an exercise for the mind and the eye, as both take in the myriad shapes, planes, surfaces and configurations that work together to produce what we see. And at some point in the farthest reaches, clarity dims as does reality and the imagination takes over. What is that over there, I often ask myself, when some shape, shade or shadow in the distance is too vague to identify. It could be nothing, I answer, or then again, it could be everything.


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