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Leopold begins A Sand County Almanac with a dedication to people who value wild things, which, he writes “were taken for granted until progress began to do away with them” (xvii). The book is an attempt to remedy that trend by shifting people’s views towards a sense of respect and love for nature.
Part 1 opens with a description of midwinter blizzards on Leopold’s Wisconsin farm, after which creatures like the skunk move from their dens and head out across the snow, “straight cross-country, as if its maker had hitched his wagon to a star and dropped the reins” (3). In January, Leopold writes, there are few distractions, and it is possible to observe phenomena ranging from the journeys of skunks to the burrowing of mice under the snow.
As the year moves into February, Leopold describes another kind of observation: that of the relationship between living things and his ability to feed and warm himself. The tree he uses as fuel for his fire were 80 years old, dating back to the 1860s, and one of the only individuals out of thousands of seedlings to survive the journey from acorn to adulthood, until it was felled by a lightning bolt. As Leopold cuts the fallen tree for wood, he contemplates its lifespan, which goes back in time from the period of Leopold’s ownership of the farm to the tenure of the previous owner, who abused and disrespected the land, and then to the years when, in other parts of the country, national forest was created, marshes were drained, and species from cougar and lynx to the passenger pigeon disappeared from the landscape. Reaching the 1860s, the beginning of the tree’s life, Leopold notes that even as people at the time contemplated the consequences of divisions between human communities—in terms of the Civil War—they did not fully consider how that division was playing out between humans and the natural world.
In March, Leopold describes the return of the geese, who commit to their northward migration with “the conviction of a prophet who has burned his bridges” (20), for one they arrive in March, they cannot turn around, even if lakes are still frozen. This epic journey has been undertaken for thousands of years, Leopold notes, and has brought generation after generation of geese to the March prairies.
In April, the flooding begins. Soon, changes emerge on the landscape in the form of small flowers like Draba, the first flower to emerge, and the dawn and dusk mating dance of the woodcock, where the male sends out a call before spiraling up into the sky and tumbling back down to earth. The beauty of this dance is a call to conservation, Leopold writes: “No one would rather hunt woodcock in October than I, but since learning of the sky dance I find myself calling one or two birds enough. I must be sure that, come April, there will be no dearth of dancers in the sky” (36).
The most notable sign of May is the return of the upland plover from its wintering grounds in the Southern hemisphere. On the prairies, the plover nests in hayfields, where its young quickly grow to maturity. This cycle was nearly broken by overhunting, Leopold writes, but the plover was saved just in time by federal legislation protecting migrating birds. Leopold then describes the joy of trout fishing in June, where the objective is less to catch a large fish than to delight in the challenge of fishing itself.
In July, Leopold describes the creatures he observes staking their claim to a part of his farm early on a summer morning, starting with birds—field sparrows, robins, orioles, and wren, to name but a few—and going on to rabbit and deer. As the sun climbs higher in the sky, human boundaries reassert themselves in the form of noise from neighboring farms, and Leopold stops his observations. From here, he goes on to describe a graveyard near his farm, abutting a section of native prairie—a kind of ecosystem that has almost disappeared from the landscape—on which a plant called Silphium blooms in July. One year, Leopold notes that the section of prairie has been mowed down. This pattern has been replicated on farms throughout the area, he writes, in part because people are ignorant of the existence of species like Silphium, which have a large root system and can grow new plants from severed roots but which have nonetheless been largely extirpated, along with other prairie species, by the grazing of cattle.
Leopold opens the section on August with a description of a river as a kind of artist—specifically, a painter. Using this metaphor, Leopold describes the progression of a riverbank from a stretch of silt to a lush green bed of Eleocharis that supports everything from mice to deer to a variety of wildflowers before being erased by the river and replaced by bare sand. By September, Leopold writes, the spring dawn chorus of songbirds has been replaced by the distant song of the quail, which conceals itself from human view.
In October, Leopold takes to the woods, where the tamarack trees turn from green to gold, in search of grouse to hunt. This hunting requires being awake before dawn; from here, Leopold lays out how hunting also requires following the visual cues in the landscape, including the red of blackberry bushes, or “red lanterns,” where woodcock and partridge are likely to be found. Most hunters are unfamiliar with these signals and therefore look fruitlessly in areas where birds are not found. With his naturalist’s training, however—and the assistance of his hunting dog—Leopold is able to find grouse in the boggy landscape and to attempt to hit them, even if he often misses. Along the way, his dog often finds other creatures, including raccoons and deer. That so much can be discovered in a small area highlights the richness of the landscape: “Almost anything may happen between one red lantern and another” (69).
November brings the wind and the departure of geese, flying south for the winter. The cooler weather is ideal for wielding an axe in comfort, and Leopold describes the conservation considerations that come while wielding an axe: choosing which species of tree is worth saving when two specimens are crowding each other. These calculations are complex, Leopold notes, citing an appreciation for native species, a bias toward the tree that he planted (rather than the one that grew on its own), a preference for the longer-lived species, and a love of pines for his decision to sacrifice a birch to save a pine tree. Pine isn’t the only tree that captures Leopold’s affections; he writes that he also favors tamarack and cottonwood and notes that all plant preferences are a function of both one’s profession and one’s preferences.
In December, Leopold begins by noting the ranges of the species that share his farm, which he gleans by watching their movements and following their tracks in the snow: a quarter mile for the rabbit, a half mile for the chickadee, and a mile for the deer. In this way, he writes, he’s able to learn more about ranges than conventional science can describe. Leopold closes this section with a discussion of banding chickadees, the most satisfying element of which is the recapture of a bird that had been banded in the past, like bird “65290,” which survived for five winters, likely by respecting the chickadee “commandments”: avoiding winter winds, never getting wet before a blizzard, and investigating every new sound in case it meant a discovery of ant eggs, the chickadees’ preferred food.
In Part 1 of A Sand County Almanac, Aldo Leopold takes the reader through a year in the life of his farm while introducing the key themes of the book and displaying his characteristically lyrical writing style. Over the course of this section, one experiences the beauty and vibrancy of the natural cycles at work in rural Wisconsin, where Leopold’s weekend getaway is located, but also the threats to those cycles, in the form of development at the local and national level and the inexorable loss of wild places. Ultimately, Part 1 offers a justification for the respect and conservation of wild spaces, insofar as Leopold argues that they possess a wisdom and cultural heritage that rivals the knowledge contained in the world’s libraries.
In “January,” Leopold opens with a description of the technique he deploys to glean insights about the natural world throughout the year to come: that of observation. By observing, Leopold is able to deduce the tunneling patterns of field mice and the perambulations of skunk. More than simple descriptions of the movement of animals, these descriptions highlight two important themes of the book. One, that of nature as a teacher, is elucidated throughout Part 1, both in the insights Leopold gains about animals’ and plants’ life cycles through the observation of their daily patterns, and in his reflections on the fact that nature possesses a wisdom that is poorly understood by many citizens but that is no less complex than conventional human knowledge. The fact that most people are ignorant of this natural wisdom—and furthermore, that many people are so divorced from the natural world as to understand most species only in the abstract—makes their loss pass almost unnoticed, as Leopold writes about the decline of the prairie flower, Silphium: “We grieve only for what we know. The erasure of Silphium from western Dane county is no cause for grief if one knows it only as a name in a botany book.” (52)
This quote highlights another important theme in the book—that of the interruption of natural processes. In Part 1, this theme refers both to the schism between humans and the natural world and to the human prevention of natural cycles, like fires, that allow ecosystems to flourish. In the case of the former, Leopold explores this in discussion of the ease with which modern people can secure food and shelter and the sacrifices required of the natural world to provide these elements. By meditating on the long life of one of these sources of fuel—an oak tree felled by a lightning bolt—and the myriad human developments and changes to the natural world that occurred over the course of that tree’s lifespan, Leopold is underscoring both the complexity and the resilience of the natural world, which is often carelessly disregarded, and highlighting how this complexity is increasingly at odds with a human civilization that is moving ever faster and making greater demands on the planet.
Leopold also explores the theme of interruption of natural processes in passages such as his discussion of the suppression of fire on the prairie. Before the arrival of European settlers, regular fires prevented the growth of trees and encouraged the dominance of thick grasses. The prevention of wildfires by humans who tended the land for agricultural purposes, however, led to the decline of the prairie landscape. This theme is also on display in Leopold’s discussion of how his woodlot is host to a variety of tree parasites and diseases. As he explores, these pests—which most people seek to eradicate from the landscape—actually play an important role in the ecosystem, by providing shelter and sustenance to a range of species such as chickadees, pileated woodpeckers, and the prothonotary warbler, whose plumage “is itself proof that dead trees are transmuted into living animals, and vice versa” (82).
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