The Santini Brothers Gene

If you have to ask, you probably don’t have it

By Joyce Reehling

Most people will look at a space, say a living room, and either like it or not. If they like it the way it is, it stays that way . . . forever or nearly forever. I, however, come from a line of women on both sides of my family who have what I call the Santini Brothers gene. When we were growing up there was a moving company called the Santini Brothers, so my dad used that name to refer to my mother’s never-ending desire to change things around in the house. One day the living room was arranged in one way, come home from school and it was another way altogether. The dining room became the den and then flipped back again. Don’t even get me started on curtains.

Science has not been able to isolate this gene but the anecdotal evidence supplied almost entirely by wives, mothers or female lab partners is overwhelming. Though not unheard of, men seldom have it unless they are very lucky and very arts minded. Those of us with the Santini Brothers gene walk through a space and just “feel” something is off, something is not right. Could it be the placement of the lamp? The chair? Maybe if I just switch those two paintings. Most men walk through a space and see the kitchen door.

And then there is the advanced case of the gene when nothing will do but everything in the room must go. No, not out and buy more, but out of this space and into another. I recently switched my living room for the dinning room. No longer as young as I once was, I hired two wonderful guys to come and help me — my Southern Santinis, gentlemen who have a keen eye for how to move things and how to place them correctly. These were no “wham-bam-you’re-moved-ma’am” laborers. Rugs were centered. A 200-year-old dining table from my husband’s grandfather — with six heavy chairs and a sideboard — all got shifted seamlessly and safely, proof that there is art in all trades.

For the cost of a glass of wine, two pals came over that night and we re-hung all the art from the picture molding. We had to restring some of the paintings to adjust for different hanging heights but we accomplished in a little under two bottles what would normally take one person three days.

The odd little tweak here and there can make your space seem new without all the bother of picking up and moving to a new house. Our eyes get so used to what we have that we stop seeing our own world. By switching a few things around we start to see all of it in a new light.

Moving the paintings highlighted what I loved but no longer really saw. Some of them were not hung to their best advantage. Others just needed a little more space around them or to be paired with an aesthetic pal, something that highlighted both.

The next part is where my husband comes home from a trip and sees the change. We had discussed the possibility of trying this but I know he needs to see the deed done before he can relax with it. My husband would hot glue the world in place if left unsupervised. He has no Santini Brothers gene at all.

Many years ago, I devised a rule that saves our sanity in the face of change. It is called the Three Day Rule. Either of us can change anything we want and the other person has to live with it for three days before saying, “put it back.” It has saved us from icy glances, bitten tongues and ill humor and to tell you the truth the “put it back” option has yet to be exercised.

The Santini Brothers gene can give everyone a new lease on life. Change. Try it.  PS

Joyce Reehling is a frequent contributor and good friend of PineStraw.

What’s in a Name?

That which we call a daffodil by any other name still ushers in spring

By Ross Howell Jr.

Despite the cold, when March came to the mountains the boy I once was felt there might again be spring. After a snowy season feeding cattle with their rumps — and mine — bowed against bitter winds, I walked along split-rail fences, melting drifts limning muddy pastures.

The earth was warming with spring, and on sunny afternoons groundhogs nosed from their dens, groggy with winter sleep. I hunted them with my uncle’s pump-action .22.

One afternoon I came upon a sight that filled me with wonder. A neat row of daffodils nodded in the sun at the edge of a wood. Their yellow blossoms were all that remained of what had once been a homestead. I watched them as they danced with the breeze. Their faces were hopeful. I imagined a mother planting them for her family, a thin border next to a log house, long since vanished.

Back then, I didn’t call them “daffodils.” Among my kin, they were known as “jonquils.” In fact, I don’t remember hearing the word daffodil until my senior year of high school, in Mrs. Humphries’s English class, when we read the William Wordsworth poem, “I Wandered Lonely as a Cloud.”

I raised my hand, wanting desperately to impress
Mrs. Humphries. She was a recent Radford College graduate, and quite attractive.

“Yes, Ross?”

“Those flowers sound like jonquils to me,” I said.

“In England, they’re more commonly referred to as daffodils. From the Latin asphodilus, The English ‘daffodil’ is probably adapted from the Dutch, ‘da asphodel,’”
Mrs. Humphries said.

I was crestfallen.

“Why everybody knows that,” my nemesis,
Verna Belcher, hissed from the desk behind me.

A quick poll of my Greensboro neighbors — my “scientific” question was, “When you were growing up, what did you call the yellow flower that bloomed first in spring?”— yielded mostly “jonquil,” though “daffodil” was an occasional response, and even “buttercup.”

It’s complicated.

“In some parts of the country any yellow daffodil is called a jonquil, usually incorrectly,” writes the American Daffodil Society, employing what I expect is their euphemism for the rural South. “As a rule, but not always, jonquil species and hybrids are characterized by several yellow flowers, a strong scent and rounded foliage.”

Now that plant sounds like what I think of as narcissus. So when I say “jonquil,” I should be saying “narcissus”? It’s not that easy.

“The term narcissus (Narcissus sp.) refers to a genus of bulbs that includes hundreds of species and literally tens of thousands of cultivars!” writes gardener Julie Day. “The Narcissus genus includes daffodils, jonquils and paperwhites, among many others, so when in doubt, this is the term to use.”

Just to confuse me further, Day adds this statement: “However, when someone says ‘narcissus,’ they’re usually referring to the miniature white holiday blooms of Narcissus tazetta papyraceous, known as paperwhites.”

Now I have paperwhites in my garden, too. But I call them “paperwhites.” So am I to understand that the flowers I called “jonquils” as a boy I should’ve called “daffodils,” and some of the bloomers I have in my garden now, the ones with the small trumpets, rounded leaves and scent, the ones I’d thought were narcissus, are in fact jonquils?

Not necessarily. Julie Day goes on to say that “daffodil” is “the official common name” for any plant in the genus Narcissus.

“So, if the plant is considered a Narcissus, it is also considered a daffodil,” Day writes. “However, most people use the term ‘daffodil’ when referring to the large, trumpet-shaped flowers of the Narcissus pseudonarcissus. These are those big, showy, familiar bulbs that bloom in spring that we all know and love.”

Got that?

But what about Mrs. Humphries? And the asphodels? Turns out they’re a different genus altogether. But some of their blossoms sure look a lot like jonquils. I mean, narcissus. Oh, you know what I mean.

And what about buttercups?

Things sure were simpler when I was a boy in the mountains hunting groundhogs.  PS

Ross Howell Jr. was rewarded for dividing and replanting bulbs this fall with a display of daffodils that brightened even the most confused and gloomy of March days.

Sunday Man

’twixt Heaven and Earth

By Jim Dodson

It’s Sunday morning in the
kitchen, two hours before the sunrise.

A welcome silence fills the house, and at this hour I often hear a still, small voice that may indeed belong to God but is more often than not the mewing of young Boo Radley, eager to be let out in order to roam the neighboring yards.

On the other side of the door sits old Rufus, balancing a universe, home from his nighttime prowlings, the crankiest cat of the known world, complaining to be let in and fed. The noisy one comes in, the quiet one slips out.

I am a butler to cats.

On the plus side, Sunday morning lies like a starry quilt over the neighborhood at this hour. A thin quarter moon hangs on the western horizon like a paper moon in a school play and Venus shines like a jewel in an Ethiop’s ear. Somewhere, miles away, a train rumbles by, a reminder of a world that is always going somewhere. But luckily I am here on Earth, a Sunday man beneath a hooked moon, for the moment going nowhere except the end of his driveway to fetch the Sunday paper for reading over the week.

Back inside, I sit for spell with my first coffee, reading one of what I call my Sunday morning books that run the gamut from the sonnets of Shakespeare to the essays of Wendell Berry, from Barbara Brown Taylor to Pierre Teilhard De Chardin — with a dash of Billy Collins and Mary Oliver for proper spiritual seasoning.

This particular Sunday is a gem long out of print, one man’s memoir of spiritual rejuvenation first published the year I was born, the story of a successful big-city writer who was forced by reasons of health and age to return to the small Wisconsin town of his birth. There he built a big house on ancestral land but initially struggled to find his place on the ground.

“A man, faced with the peculiar loneliness of where he doesn’t want to be,” writes Edward Harris Heth in My Life on Earth, “is apt to find himself driving along the narrow, twisting country roads, day or night, alone, brooding about the tricks life can play.”

Life is lived by degrees. Little by little, the author’s lonely drives along country roads yield a remarkable transformation of the angry city man. Heth gets to know — and admire — the eccentric carpenter who builds his house. He drops by a church supper and meets his neighbors, including the quirky Litten sisters “who play a mean game of canasta,” know all the village pump gossip “and have an Old Testament talent for disaster.” The ancient Litten girls both feed and inspire him to broader exploration.

His neighbor Bud Devere, a young and burly farmer who always shows up uninvited just to chat, insists that Heth see the Willow Road.

“I did not want to see what Bud saw. But the reluctance began fading away in me, that first time we went down the Willow Road. It covers scarcely more than a mile, but in that mile you can cover a thousand miles.” Traveling along it, the author sees spring wildflowers, undisturbed forests, a charming farmhouse with narcissus and hyacinth in bloom. He feels his pulse slow, and something akin to simple pleasure takes root.

“Bud kept silent. He wanted me to open my own eyes. . . . Since then, I’ve learned how many country people know and enjoy this art of the small scene and event, the birth of a calf, a remembered spot, the tumultuous labor and excitement of feeding the threshers, who come like locusts and swarm for a day over your farm and disappear again at night, the annual Welsh singing competition in the village — these are the great and proper events of a lifetime.”

Funny thing is, I have no idea how this little book, something of a surprise bestseller when it first appeared in 1953, got into my bookshelf, and now into my soul. It just magically appeared, a gift from the gods or perhaps a wise friend who knew I might discover it

Now the sun is up and so are the dogs. I am a butler to them, too. Despite a late frost, birds are singing and there is a new angle to the light — not to mention the first green tufts of daffodils rising like green fingers from the Earth.

Anticipating their Sunday walk, of course, the dogs think every day is the first day of spring. Mulligan, a black, flat-haired retriever I found as a pup a decade ago running wild along a busy highway, trots ahead off the lead, our tiny pack’s alpha girl, while Ajax — whom I call Junior — a golden retriever far too good-looking for his own good — lumbers along toting his own lead, deeply impressed with himself.

The neighborhood is old, with massive hardwoods arching like cathedral beams overhead. A man in his bathrobe steps out and shuffles hurriedly to the end of his sidewalk to fetch his Sunday morning paper. He gives a quick wave, bobbing a neighborly head, and hurries back inside to read.

The news of the world can wait. Because it never really changes, a story as old as cabbages and kings. Besides, we are briefly off the clock of the world all of Sunday, footloose upon the Earth, officially out of range, in search of an earthier divinity. Truthfully, I’m a bit sad to see winter’s cold and prospects of snow give way to the advance of daffodils. I am a winter’s boy, after all, but happy for a wife who is an endless summer girl dreaming of white lilacs in bloom.

“What is divinity,” asked Wallace Stevens in his lovely poem Sunday Morning

“if it can come

Only in silent shadows and in dreams?

Shall she not find in comforts of the sun,

In pungent fruit and bright, green wings, or else

In any balm or beauty of the earth,

Things to be cherished like the thought of heaven?

Divinity must live within herself:

Passions of rain, or moods in falling snow;

Grievings in loneliness, or unsubdued

Elations when the forest blooms; gusty

Emotions on wet roads on autumn nights;

All pleasures and all pains, remembering

The bough of summer and the winter branch,

These are the measures destined for her soul.”

By the time we reach the park, Lady Summer Bough and Lord Winter Branch, the strengthening sun has melted away the year’s final frost. Across the way stands an ancient oak I peddled by a half a million times as a kid on his way to the ball field; it looks like a lighted candelabra, limned with golden morning sun.

Funny how I only recently noticed this.

It is middle Sunday morning at church, our usual pew back right. The young preacher is named Greg. Not long ago we attended his ordination as a priest. My cheeky wife thinks Greg is almost too good-looking to be a priest. Lots of women in the parish seem to share this view.

The gist of his Sunday sermon is the need to look with fresh eyes upon Matthew’s Beatitudes. But the true strength of his Sunday morning message lies in the suggestion that we all should aspire to become our true selves and Christian mystics: “Don’t be scared by that word mystic. It simply means someone who has gone from an intellectual belief system to actual inner experience.” The journey from head to the heart, Greg says, means we are called to be mysticsto chuck rules-based, belief-system Christianity in favor of something far more intimate and organic as the Earth around us.

To coax the point home, he mentions Franciscan friar Richard Rohr’s observation that religion is largely filled with people who are afraid of Hell, and spirituality is for people who have gone through hell.

And with spring on the Sunday doorstep, Father Greg provides the perfect metaphor directly from renewing nature — the mystery of how a caterpillar becomes a butterfly, how becoming our true selves is not unlike the chrysalis that must crack open in order for the butterfly’s wings to gain strength and allow it to fly.

“And as we struggle,” notes the bright new associate rector, “it breeds compassion within our hearts. Just as the butterfly pressed fluid into its wings, our struggle enables compassion to flow through our bodies, a compassion that allows us to empathize with the suffering of others.”

I’ll admit I am a Sunday man who digs a good sermon. And this was a mighty thoughtful one. Young Greg is off to an excellent start, even if — like Junior — he is a tad too good-looking.

Speaking of digging, after a Chicago-style hotdog, I’m home for full Sunday afternoon working in my new garden, digging in the soil and delving in the soul.

Having pulled down an old pergola and cleaned out a handsome brick planter long overgrown with ivy, I lose complete track of time in the backyard planting Blue Angel hostas and a pair of broadleaf hydrangeas, repairing and raising a much-loved birdfeeder, hanging chimes high in a red oak and transplanting ostrich ferns. If one is closer to God’s heart in a garden, then perhaps I am a backyard mystic with dirty hands.

By Sunday sundown, my knees are aching but the healing is real. Renewed for a week of cabbages and kings, we settle down with the Sunday paper and a bit of Netflix before bed, though I tend to doze off halfway through the program.

Old Rufus goes out; Boo Radley comes in. The dogs follow us to bed. For some reason I seem to sleep so well on Sunday nights.  PS

Contact Editor Jim Dodson at jim@thepilot.com