Perilous Bounty vs. Golden Wheatfields

As a boy raised between the rural grainland communities of Endicott and St. John, Washington, I was surrounded by first-generation immigrant elders who had been born in Eastern Europe, Scandinavia, and elsewhere. I enjoyed listening to their tales of “Old Country” life which seemed in many ways like other-worldly experience with heavy doses of folklore and traditions on the cusp of vanishing. Investigating their stories later introduced me to the remarkable work of British folklorist George Ewart Evans who ever remained hopeful about contemporary smallholder and rural community prospects. He recognized the possibilities of new cooperative relationships by which growers could pool resources to buy machinery and share storage and marketing facilities. He characterized these arrangements as “a return on a higher level to the structure of the Middle Ages.” The situation was not unprecedented in Evans’s view, as he cited the introduction of the heavy Saxon carruca plow to Britain in early medieval times and the enclosure movement as changes that necessitated innovative cooperative practices. The “break” in apprecation of the old ways of labor, thrift, and economy, Evans wrote in the 1960s, “has chiefly been in the oral tradition: a farm-worker of the old school, a horseman for instance, had latterly no apprentice to take up his lore; and the young—the true bearers of the tradition—have in this respect been receiving a speedily diminishing heritage. It is not so much that they are not interested…; they have now so few points of reference against which to measure it.”

Mutual dependance among neighbors and community members was more than virtue. It was necessity when harvest-time was essential endeavor and ritual for all able-bodied persons including field laborers, cooks, and craftsmen. The rise of mechanization that has reduced exhausting manual labor and technologies to facilitate communication and transportion will not abide nostalgic appeals to preserve the old ways. Evans characterizes such doomed efforts as “misguided romanticism” that is impossible in practical application and ignorant of the abiding dynamics of rural life through the ages. Aspects of social cohesiveness evident in harvest operations of former days have also diminished an isolated parochialism that limits wider multicultural understandings as well as individual opportunity in life. Moreover, a host of politicial and environmental conditions that threaten the wellbeing of farmers and rural communities cannot be understood apart from participation in global solutions.

Needlepoint Grain and Grapes Altar Kneeler, National Cathedral, Washington, D. C. (2019), Columbia Heritage Collection Photograph

 Public awareness of land stewardship takes on special significance in a day of unprecedented industrial and technological change as world population and pressure for land use continue to grow. The number of farm residents declined during the twentieth century from 42% of the nation’s population in 1900 to just 1% in 2000. After peaking in 1935 at 6.8 million, the number of U. S. farms and ranches fell sharply until the early 1970s and today there are about two million. Moreover, just 5% of farms now produce approximately 75% of the nation’s food supply. Science writers now contribute to a new literary genre of environmental despair in the wake of global warming and food insecurity with such troubling titles as The End of Plenty, Red Sky at Morning, Perilous Bounty, and cultural critic Brian Watson’s big picture Headed into the Abyss. (The phenomenon started with publication of The End of Nature in 1989 by mild mannered Methodist Bill McKibben, who now warns in Falter [2019] of significant disruption to world crop production and decrease in grain protein levels due to climate change.) Contemporary science fiction has likewise shifted in tone from the fantasy upheaval of alien invasions or asteroid impacts to speculative dystopian thrillers.

Books like American-Canadian writer William Gibson’s The Peripheral (2014) and Agency (2020) depict a menacing state of corporate control and online existence substantially disconnected from the natural world. Instead of a single make-believe threat, Gibson’s characters face a convergence of intractable problems exacerbated by climate change, pandemics, and authoritarianism enabled by high tech mass communication. More disturbing if absurdly entertaining are novels by Joy Williams like The Quick and the Dead (2000) and Harrow (2020) in which characters vainly navigate through primal social upheaval in the aftermath of environmental spoliation. Williams’s latest title alludes to the ancient farm implement as cipher for humanity’s relationship to nature, and recalls a passage from Job (39:9-10) about the foolishness of tethering a wild ox to a harrow. This varied literature disdains the arrogance of publically invoked cultural pieties about responsible living. Such stories often invoke ancient myths bearing the common assumption that the wellbeing of humanity is inextricably linked to respect for the natural world’s titanic potential.

Societal expectations for tomorrow are strikingly varied. As a boy I experienced our family’s 1962 cross-state trip from the Palouse Hills to Seattle’s optimistically titled “Century 21” World’s Fair. Visitors were dazzled by exhibits on space travel and consumer abundance. A half-century later Milan, Italy, hosted the 2015 “Feeding the World” Fair with themes related to the problems of food security, sufficiency, and safety. A UN-sponsored session discussed the disturbing flatline of world grain yields since 2000, and how one billion developing world inhabitants were at risk of chronic malnourishment after decades of decline. Medieval era population peaked at approximately 300 million inhabitants but rose to a billion by about 1800, doubled to two billion in 1927, and reached three billion in 1960. Demographers at Milan predicted this exponential growth rate would result in ten billion by 2050 and bring attendant challenges for food resources, species diversity, and stewardship of soil.

Good Scythes, Thresholds, and Eating

Whenever a younger member of the clan mentions being bored I ask if they’ve been to the library lately. While the flood of resources available online is endless, I often find time in our local public library relaxing and more manageable. A vast collection of current periodicals is readily available and since I tend to spend more time reading non-fiction books, I also use trips to the library to scan what fiction works might expand my horizons. Recently I happened upon Jim Crace’s 2013 dystopian novel, Harvest, that transports readers to a sixteenth-century English village to experience a week of celebration, intrigue, and disturbance that marks the end of harvest. Area residents gossip and gather in the barley field but are more concerned with the recent arrival of several vagrants than the momentous events about to engulf them. The story is told from the standpoint of Walter Thirsk, who after residing there for a dozen years is himself a relative newcomer to a place. “We should face the rest day with easy hearts,” he muses, “and then enjoy the gleaning that would follow it, with our own Gleaning Queen the first to bend and pick a grain. We should expect our seasons to unfold in all their usual sequences, and so on through the harvests and the years.”

The strangers who camp nearby are refugees from enclosure of open lands, and their coming coincides with that of a man of uneasy silence the villagers call Mr. Quill for the peculiar instrument he carries for his work: “We mowed with scythes: he worked with brushes and quills. He was recording us, he said, or more exactly marking down our land.” Quill is making a map and compiling numbers, measuring locations of streets, houses, and fields. He informs his rustic hearers that such work is about “improvements” being done on behalf of the manor estate’s absentee heir who is zealous for improvements to enlarge the estate by enclosure and replace fieldworkers with sheep which will also render gleaning obsolete. “We know enough to understand that in the greater world,” Quill explains, “flour, meat, and cheese are not divided into shares and portions for the larder, as they are here, but only weighed and sized for selling.” The old order of Enough is being displaced by More. To be sure, pre-enclosure landscapes were not idyllic spaces since commoners depended on hard labor and the vagaries of the seasons for their welfare. But conditioned by faith and custom, daily anxieties poignantly expressed by Crace were moderated by community fellowship and shared resources from the commons.

One of Kentucky farmer-philosopher Wendell Berry’s first public addresses on trends in consolidation of family farms and land care took place in July 1974, at the “Agriculture for a Small Planet” symposium held in conjunction with Spokane’s “Expo ’74.” The world’s fair was promoted as the first international ecological exposition and Berry’s passionate talk, delivered from scribbled notes on a large yellow pad, included a call for “a constituency for a better kind of agriculture.” The presentation inspired organization of the Northwest Tilth movement for sustainable farming, and became the nucleus of Berry’s best-selling book The Unsettling of American: Culture & Agriculture (1979). 

In his essay “The Good Scythe” (1979), Berry grapples with the meaning of progress in modern times. He recalls buying a “power scythe” for cutting grass on a steep hillside near his home, but soon found that the anticipated advantages of reduced labor were offset by the machine’s temperamental motor and considerable racket. The turning point came when a neighbor showed him an old-fashioned scythe that was comfortable to handle and efficient. “There was an intelligence and refinement in its design that make it a pleasure to handle and look at and think about,” Berry observed, and he promptly replaced the powered machine and gas can with a wooden-handled Marugg scythe and whetstone. Berry does not dismiss mechanical innovation; the scythe, after all, is an improvement on the sickle. But he found the episode to have “the force of a parable” about life, labor, and definitions of progress. He advocates a time-honored approach for judging claims of saved labor and short cuts, and warns against the embrace of technological solutions that tend to bring longer working hours with greater equipment expense, and further move the balance between nature and needs.

Lewiston, Idaho artist W. Craig Whitcomb has painted rural scenes for a half-century in watercolor and acrylic with subject matter ranging from isolated Northwest grain elevators to English thatched cottages and Japanese landscapes. His Amber Waves (2008), finalist for the first annual “H’Art of the Palouse” Banner Competition, shows an immense abandoned grain elevator in vivid rusty reds and blues rising from a field of ripe grain. Vibrant watercolors of Northwest grain and legume fields scenes by Andy Sewell of Viola, Idaho, have appeared on posters for the Pullman-based National Lentil Festival. His dramatic Doubletime Before the Storm (2021) shows the skillful choreography of two John Deere combines moving in tandem with tractor-pulled grain carts in the face of threatening clouds and lightning. Sewell, a graduate in fine arts from the University of Idaho in Moscow, spied the late afternoon scene near his eastern Palouse home. The golden browns and dark shadows of land and sky express Sewell’s appreciation for the primal forces of nature that make harvests possible. Other richly colored agrarian landscapes by Sewell include Palouse Summer Glory and Palouse Country Summer.

Roger Feldman, Threshold (2013), Laity Lodge near Leakey, Texas

Courtesy of the Artist

Works by my friend Roger Feldman of Seattle, winner of the 2005 Prescott Award in Sculpture, reflects his study of theology and art education. Raised in the Palouse Country community of Rosalia, Feldman has created large site-specific sculptures in the United States, Canada, and Europe. He meticulously plans each installation by visiting the location to “dream about the possibilities” before rendering a small 3-D scale maquette from mat board before fashioning a larger, more refined model from wood. For Threshold (2013) at Laity Lodge, an ecumenical retreat along the Frio River in Texas’s Hill Country, Feldman conceived of three interconnected chiseled limestone monoliths including a 15-foot-tall tower to represent the three-in-one concept of the Trinity. The work’s title is derived from Hebrew words used in the Old Testament (saph, miptān), a raised beam at the edge of a threshing floor, to signify the boundary between the outside world and sacred space for contemplation and worship.

Tradition and innnovation have presented cultural tensions since the dawn of civilization, and responsible influence from each has contributed to humanity’s wellbeing. Like van Gogh paintings of gleaners and reapers with factory smokestacks on the horizon, agrarian fine art and literature foster better understandings of tensions that involve emotion and reason, and local and universal values. Among other recent developments in grain production, the advent of minimal tillage operations using specialized power equipment has greatly reduced soil erosion on Amercan farms while increasing yields. The emerging New Agrarianism of the twenty-first century moves beyond nostalgic romanticism to moderate use of industrial energy within the context of natural systems for soil fertility. Wise approaches to innovation respect stewardship of land and the longterm wellbeing of others. Duke Divinity School environmental theologian Norman Wirzba writes of a New Agrarian ethic that honors modern science as well as ancient religious appreciation for the transformative mystery of soil, water, and grain for human sustenance. Implicit acknowledgement is also made of fair compensation for farmers and other workers. “How we make bread, how we share and distribute it, are of profound moral and spiritual significance,” he writes in Food and Faith: A Theology of Eating (2011). “[E]very loaf presuppposes decisions that have been made about how to configure the social and ecological relationships that make bread possible.”

Tim Dearborn of Fuller Theological Seminary and author of Taste & See: Awakening our Spiritual Senses (1996) tells of Jesus’ reference to bread in the context of material well-being and spiritual strength. During his temptation in the Wilderness (Luke 4:4), Jesus quotes the familiar Old Testament passage, “[M]an does not live by bread alone” (Deuteronomy 8:3), which recognizes legitimate needs for “daily bread” physical sustenance (Matthew 6:11) provided through divine provision and sacrifice. Sharing food and faith goes hand in hand with prayer (“grace”) and communion with family and friends for the vital, senuous experience of daily feasting. In this way, meals can transform mundane consumption into enriching spiritual experience that honors grains, greens, and other foods, but recognizes their material essence, cultivation, harvest, and preparation as rooted in meaningful service. The tragedy of religious piety is not materialism Dearborn writes, “but that in a particular way we are not materialistic enough.” By dividing aspects of human existence into sacred and secular realms, one can also render possessions, physical needs, and the land into domains separate from their divine source and protection.

Frustrations with equipment repair and long hours of solitary fieldwork may appear scarcely related to religious faith. But farmers and other members of St. Macrina’s Episcopal Church near San Francisco regularly meet to share the challenges of twenty-first-century farming with area millers, bakers, brewers, and consumers.  All contribute perspectives on grain as a “community crop” and how each group can participate in consequential efforts to strengthen cultural ties and serve as stewards of the land. In 2015, St. Macrina co-founder and Agricultural Chaplain Elizabeth DeRuff established The Bishop’s Ranch Field on Russian River Valley church property near Healdsburg, California. Young and old gather there throughout the year to plant, till, and harvest heritage grain that is milled for communion bread and distributed throughout the diocese. “We want to see local farmers succeed and be part of local communities,” explains Rev. DeRuff, “and to learn with them about ‘belonging’ as well as ‘having.’”

Although based in Baltimore, landscape artist Katherine Nelson has regularly traveled cross-country since 2001 to the Palouse’s undulating grainlands. Her fluid charcoals and dye sublimates capture the summertime chiaroscuro of swirling slopes, saddles, and swales laden with wheat, barley, and legumes. Nelson has also contributed to Oregon State University’s Art About Agriculture program and to Glen Echo, Maryland’s Yellow Barn Gallery exhibitions. She traces threads of her fascination with the region to her diplomat father’s interest in Turkish rugs: “I remember their luxuriant textures and shapes which influenced my affection for rolling landscapes. The Palouse is a tapestry of woven connections among seasons, fields, and people. The effect is thoroughly spiritual and provides a place of reflection, solace, and beauty that overcomes the noise of the outside world.” To emphasize the rhythmic effects of light for line and shadow, Nelson works entirely in black-and-white which evokes heightened awareness of layering, texture, and movement. “My ‘Portraits of the Palouse,’” she explains, “are metaphors for the human prospect. ‘Harvests’ to me are exhibitions that depict the land as hallowed space through views of heritage farm architecture and landscape vistas. Implicit rural values relate to the natural environment, hard work, and community, and are relevant anywhere.”

Mirabilia and the British National Service

In the fall of 2012, the congregation of Toronto’s St. Anne’s Anglican Church teamed with the NetherMind artist collective to sponsor Mirabilia (meaning “Things causing wonder”). Some 2500 people attended the nine-day festival exhibition, lecture, and worship series held in connection with the church’s 150th anniversary. The contrast between contemporary experimental art and ancient architectural setting could not have been more striking. Designated a national historic site, St. Anne’s features an imposing Byzantine Revival dome supported by Caen stone columns and decorated with religious scenes painted in 1923 by J. E. H. MacDonald and other members of Canada’s famed Group of Seven. Mirabilia’s large-scale installations included Mary Catherine Newcomb’s immense Osiris’ Advance (Ten Thousand Soldiers) of upright grain stalks covering a wide circle between several rows of pews and a priest’s table draped in a green and gold altar cloth embroidered with heads of wheat.

St. Anne’s longstanding ecumenical tradition involves local artists and musicians for church programs, and in his festival sermon, “What Does God have to do with Art?”, Rev. Gary van der Meer noted that some visitors had found some of the art insufficiently religious. His message opened with the story of Elijah and the Widow of Zaraphath (I Kings 17:8-16) in which the prophet is divinely directed in a time of famine to ask a desitute widow for bread. Such pitiful circumstances put the woman and her son at risk of starvation, but she consents to feed the stranger. Showing remarkable generosity, she shares their meagre supply of flour and oil. Elijah then miraculously restores their provisions until the famine ended. “Wonder is happening at St. Anne’s,” proclaimed Rev. van der Meer in his Mirabilia homily, and explained the sacred nature of creative expression in theological terms:  “We are created in the image of God and therefore are creators. Our artists are living with God’s image in them by creating the art that is here. Artists are engaged in the sacred by living out God’s creating image in their own creating. …God is the first and supreme artist. …[W]e should learn more about art to learn more about God.”

In an effort to revive Great Britain’s traditional Anglican Harvest Service and promote stewardship of land and food, members of the royal family joined with civic and business leaders in 2010 to launch a series of agrarian-related initiatives including British Food Fortnight to foster school gardening projects and charitable food distribution. Royal patronage in cooperation with church leaders also sponsored the first National Harvest Service in a half-century which was held at Westminster Abbey on October 16, 2013. The service opened with Henry Alford’s popular congregational hymn, “Come, Ye Thankful People, Come” (“…raise the song of harvest-home!”), followed by homilies from Owen Patterson, Secretary of State for Environment and Rural Affairs, and Dr. Richard Chartres, Bishop of London. Actor Damian Lewis read lines from Henry Birtles poem of unpretentous gratitude, “The Harvest”:

     Let’s  gather as a band of one, in symphony

          across the land
     To thank our Lord for Harvest reaped and

           gratefully as one let's stand
     To think of those, for all their toil who've readied

          plough, who've nurtured soil 
     The farmers in the fields, the cold; the hardened

           hands, the fens, the wold
     So many aspects of a life, a challenge most will

          never know
     For we in houses snugly sleep, whilst in the biting

          winds and snow
     …And through this nation memories walk, depth

          of image ever strong

     Of distant days and innocence; of man and Shire

     Horse ploughing on
Of wheat sheaves standing in the sun and

      laughing girls coming home
…For all the romance of these scenes, look not

     through glass of tinted rose
Ask farming people what it's like and though the job

     is one they chose

It takes its toll; the troughs are long and cold and

     deep
The flattened barley, missing sheep and so much

     more that blights their show
But on and on and on they go, until that day of days

     has come
The tractor's parked, the combine's quiet; the crop

     is in, the Harvest done.


Since the revived Westminster commemoration, the National Harvest Festival has grown to some 400 parishes and schools in Great Britain and includes services at the grand cathedrals of Canterbury, Lincoln, and Ripon. One of England’s most prolific hymnodists of the past century, Fred Pratt Green (1903-2003), composed numerous songs for these occasions including “For the Fruit of All Creation” (1970) and “Come, Sing a Song of Harvest” (1976). Pratt’s verses for these and other music show regard for earth care and social justice seldom expressed in Wesley’s generation, as well as the benefits and limits of science:

Shall we, sometimes forgetful / Of where Creation starts,

With science in our pocket / Lose wonder in our hearts.

Related National Harvest Festival events now include British Fortnight restaurant menus to “rekindle the tradition of regional British foods and the harvest,” designation of farm discovery trails and heritage crops, and community harvest celebrations and concerts. Devon Master Blacksmith Andy Hall created the official traveling British Harvest Torch sculpture that features a wrought iron vessel holding a grain sheaf and is hosted by participating churches in accordance with the National Harvest Service schedule.

BBC Television’s critically acclaimed documentary Victorian Farm (2009) drew up to four million viewers for some of its six episodes which included a mid-nineteenth-century wheat harvest. Filmed at Acton Scott Historic Farm in Shropshire, the programming was extensively based on Dr. Henry Stephens’s The Book of the Farm (1844) and other original sources that were also used by Ruth Ellen Goodman and a team of other agricultural historians to create the 2009 best-selling book Victorian Farm. The documentary’s phenomenal success rekindled widespread public interest in British country life, and led to the sequels Edwardian Farm (2010, filmed at Morwelham Quay in Devon) and Tudor Monastery Farm (2013 at Weald and Downland Open Air Museum in Singleton, West Sussex). Both series also included segments on stooking and threshing grain and other period harvesting operations.

European living history (“open-air”) museums have undertaken heritage grain demonstration projects and reconstruction of harvest equipment from ancient and medieval to early modern times. The “Year on the Field” Project organized by the International Association of Agricultural Museums (AIMA) was launched in 2021 to facilitate a global exchange of ideas and experience on historical methods of grain cultivation and harvest and to promote sustainable agriculture. The project includes living history farms and museums around the world where heritage grains are cultivated and is coordinated through the Lauresham Open-Air Laboratory near Worms, Germany, which also operates Lorsch Abbey Manor Farm. Participating locations in North America include the Canada Agriculture and Farm Museum (Ottawa), Carter Historic Farm (Bowling Green, Ohio), Greenfield Village Firestone Farm (Dearborn, Michigan), Genesee Country Village (Rochester, New York), Howell Living History Farm (Titusville, New Jersey), Pleasant Hill Shaker Village (Harrodsburg, Kentucky), and Sterling College-Berry Center Farm (Port Royal, Kentucky). AIMA was founded in Prague in 1966 to facilitate East-West scholarly exchange and communication among agricultural museum staff worldwide. Headquartered in Rochdale, Massachusetts, AIMA’s North American affiliate, the Association for Living History, Farm & Agricultural Museums (ALHFAM) was founded in 1970 and publishes a quarterly Bulletin and annual Conference Proceedings.

Heartland, KareLift, and Harvest Hope

I’ve always enjoyed that closing scene in the Whoopie Goldberg comedy movie Sister Act when Pope John Paul II visits the San Francisco convent where lounge singer Delores-turned Sister Mary Clarence directs the St. Katherine’s Choir in a stirring rendition of “I Love Him.” The story is fictitious of course but the pope did make an extended visit to the U. S. where he made explicit reference to charitable obligations to the poor. This was during his unprecedented trip to the American heartland in 1979 that was hosted by the Diocese of Des Moines, Iowa, and the National Catholic Rural Life Conference. John Paul celebrated an open-air Mass where a vast crowd of some 300,000—the largest in Iowa history, had assembled on a broad hillside at Urbandale, Iowa’s Living History Farms.

Pope John Paul II at Urbandale Living History Farms (1979)

Local St. Mary’s parishioner Joseph Hays had sent a hand-written letter to the Pope inviting him to witness the church’s “Community in the Heartland” ministry of rural study and outreach. The pontiff’s decision to visit the Iowa countryside led to weeks of preparation by members who broke from customary harvest routines to host the special ecumenical event. Surrounded by area church and civic leaders, the pope led the service from a massive platform fashioned of white oak from a century-old corn crib. The temporary sanctuary was draped with an enormous quilted banner designed by Fr. John Buscemi of Madison, Wisconsin showing a cross with four colorful contoured field patterns symbolizing the seasons. From this peculiar setting, Pope John Paul II delivered a homily urging his hearers “in the middle of the bountiful fields at harvest time” to embrace “three attitudes… for rural life”—humble gratitude, land stewardship, and generosity toward the poor.

 In an address ten years later commemorating the church’s “Declaration Nostra Aetate” regarding mutual respect and cooperation among world religions, John Paul II mentioned the notable contributions of American Trappist monk Thomas Merton (1915-1968) to interfaith dialogue. A longtime resident of Gethsemani Abbey near Bardstown, Kentucky, Merton also fostered fellowship with prominent Asian and Native American spiritual leaders and formulated a corpus of ecological writings permeated with contemplative appreciation of nature and agrarian endeavor. In his poem “Trappists, Working” (1942), farming is likened to a liturgy of worship amidst outdoor sanctuaries of divinely bestowed sun, wind, and “walls of wheat.” “Landscape: Wheatfields” (c. 1950) likens faithful soldiers of the faith to shocks of grain sheaves awaiting transport in holy service of others.

American farmers participated more directly in domestic gleaning programs in the 1980s as well as in similar global aid projects. In the wake of the collapse of the Soviet Union, for example, a group of Pacific Northwest growers formed WestWind Ministries in 1991 in response to appeals from newly independent Russian leaders to provide food and medical assistance to schools and orphanages in the Russian Far East. A coordinated “Operation Karelift” effort involving the National Association of Wheat Growers, Washington-Idaho Pea & Lentil Association, and The McGregor Company of Washington, Idaho, and Oregon led to delivery of over a thousand tons of aid to areas in greatest need. Farmers hauled truckloads of wheat for processing into flour while Northwest barley, lentils, and beans were combined into nutritious soup mixes.

Sara Quinn, We’ll Still Be Here When This Is Over Cover Montage

“The colors of their flag mirror the blue skies and their fields of wheat and sunflowers. …I hope one day, the Ukrainian farmers will be able to return to their fields.”

Tumbleweird 7:4 (April 2022) / Courtesy of the Artist

When Russian President Boris Yeltsin made an unprecedented visit to Seattle in September 1994 to report on newly normalized relations between the two countries, he cited “this help in our hour of need” in the context of the food campaign as a key factor in his historic decision. Yeltsin’s gala reception was hosted by Washington Governor Mike Lowry, himself a native of the Palouse Country hamlet of Endicott, Washington, where his father, Robert, had managed the local grain grower cooperative in the 1950s. Lowry’s dedication to humanitarian causes and migrant farm worker causes was the subject of many tributes following his passing in 2017. Officiant Kacey Hahn of St. Matthew’s Lutheran Church in Renton opened the late governor’s memorial with explicit reference to moral responsibility from Leviticus 23:22: “And when you reap the harvest of your land, you shall not reap your field right up to its edge, nor shall you gather the gleanings after your harvest. You shall leave them for the poor and for the sojourner.” With the outbreak of war of Ukraine in February 2022, many of the original KareLift partners joined with other groups through “Operation Harvest Hope” raise funds and send Northwest commodities to help feed the several million refugees who fled the conflict to safe havens throughout Europe. The war between Russia and Ukraine—nations that provide nearly one-fifth of world grain exports, destabilized global wheat markets and put at significant risk the wellbeing of millions living in the Middle East and North Africa who depend on imports and subsidized bread.

Kansas farmer-philosopher Oren Long has contributed for decades to agrarian periodicals and his local paper, the Valley Falls Vindicator, to offer insight on topics ranging from food security and social unrest to seed rates and meaning in art. In a 1983 New Farm article, Long underscores the vital understanding that rural experience is at once terrestrial and transcendent. “My farm is my refuge from the deception and hopelessness that haunts this intrusive commercial world. …I am an inseparable part of a great biological scheme of things and the greater contribution toward the complexity and harmony of that scheme, the greater will be the beauty of my world and the greater my significance to it.” In this way rural experience is understood to impart beauty to life in ways long expressed by agrarian painters and writers who have shown the abiding value of sowing, reaping, and other “cooperative arts” practiced with attention to land care and the less fortunate.

Mid-Columbia Symphony and Mastersingers Ukraine Benefit Concert, Kennewick, Washington (March 26, 2022)

Johannes Brahms, A German Requiem to Words of Holy Scripture, Op. 45

Sie gehen hin und weinen / und tragen edlen Samen, / und kommen mit Freuden / und bringen ihre Garben.

(They go forth and weep, / bearing precious seed, / and come with joy / bearing their sheaves.—Psalm 126:5-6)

New Agrarians for Renewed Community

I hadn’t been to a movie theatre for ages so when the ladies of the family asked me to join them recently to see Downtown Abbey I obliged so we could follow the Crawley family into what was billed as the 1930s “New Era.” A lifetime ago when in college I had actually met Lord Carnarvon, the real owner of Highclere Castle (“Downtown”), as he was guest speaker to a crowd of us undergrads who had gathered in Vancouver, B. C. for a government studies conference. I remember him being every bit as proper as the fictitious Robert, Earl of Grantham. I would like to have known more about Lord Carnarvon’s celebrated grandfather who sponsored the expedition that discovered King Tut’s tomb in the 1920s. Was the grain said to have been recovered from the legendary pharaoh’s tomb truly vital as some people claimed? I didn’t know enough about it all to ask at the time, though I found out much later the story was a myth.

The film I had really been wanting to see this year was French filmmaker Agnès Varda’s documentary, Les glaneurs et la glaneuse, winner of the Mélès Prize for Best French Film, which offers controversial interpretation of Millet’s iconic painting The Gleaners (1857). Distributed in the United States as The Gleaners and I, the movie shows how poverty need not deprive individuals in any age of dignity and humor. They may be compelled, however, to overcome significant social and economic obstacles to eke out an existence. The film has contributed to a broader, contemporary definition of gleaning to include the gathering of unwanted foods of all kinds—bread, fruit, vegetables, and fish, as well as other castaway resources. Varda’s sobering images of oppressed, vulnerable, and often young souls, illustrate the disturbing trend of income inequality in modern societies like France where “gleaning” remains a salient reality for many, and its potentially harsh consequences. Her work also suggests possible solutions in the food service sector through the stewardship of surplus distribution via urban pantries and community food banks.

General Convention of The Episcopal Church Banner, Salt Lake City (2015), Columbia Heritage Collection

This more broadly defined concept of gleaning was described in The Other America (1962), Michael Harrington’s influential study of hunger and homelessness that shaped Lyndon Johnson’s 1960s War on Poverty. In the wake of growing public awareness, social service and religious groups have formed new partnerships in recent decades to develop food security programs to distribute perishable produce and processed foods. At least one-third of food produced annually today in America—as much as 40 million tons valued at approximately $75 billion, is wasted due to spoilage and inefficient storage and distribution. Applying the idea of gleaning to such lost resources, a group of Phoenix activists organized the country’s first urban food bank, Second Harvest, in 1975 (known as Feeding America since 2008). Similar humanitarian efforts followed in Portland (Interagency Food Bank, 1975), Chicago (Food Depository, 1978), Seattle (Food Lifeline, 1979), New York City (City Harvest, 1982), and spread to many other large cities. Some of these endeavors are affiliated with denominational benevolent ministries including the Society of St. Andrew Gleaning Network (United Methodist Church), Evangelical Lutheran Church of America World Hunger, and Catholic Relief Services Hunger Campaign.

Jeff Whitton, Northwest Harvest Poster Art (2010), Columbia Heritage Collection

Brad Bailie of Lenwood Farms near Connell, Washington, produces organic grain and vegetables, and regularly works with local churches and crews of Feeding America gleaners to supply Second Harvest and other regional food banks. He explains his and other farmer-contributors’ motivations in both practical and moral terms: “Sometimes growers have surpluses because commercial buyers have certain commodity specifications by size or weight. This can leave a considerable amount of quality produce in the field, and we don’t like seeing such waste. We also believe that the blessing of a bountiful harvest brings responsibility to share with others.” The opportunities and responsibilities that come with abundant harvests are also evident in revivals of the ancient Passover Festival among religious fellowships throughout the world. Israel’s celebrated and prolific composer, Matityahu Shalem (1904-1975), wrote numerous folk songs for contemporary Jewish worship including Passover celebrations when the first sheaves of barley are cut for presentation at the temple. His popular Shibbolet Basadeh (Ears of Grain in the Field) is sung and danced to traditional choreography shaped by Shalem’s experiences on a kibbutz in western Galilee where he tended flocks and fields after relocating to Palestine before World War II.

For religious thinkers like Shalem, meaning still retains a supernatural sanction derived from humanity’s simultaneous temporal and spiritual nature. Contemplation of the harvest labor and its bounty can be perceived in the particularities of agrarian experience whether along a Galilean shore or Dakota slope. 

Friends of the Land and Sustainable Agriculture (Part 2)

Commenting on a 1950s summertime visit to Malabar Farm by the French Minister of Agriculture and sustainable farming advocates, Louis Bromfield observed, “Every good farmer is a mystic at heart and religious, but a good farmer’s mysticism and faith are founded upon the base of the earth itself, and so very different from what to me is that implausible mysticism of the detached spirit. I am Protestant enough and Anglo-Saxon enough to demand concrete results.” Bromfield concluded that biodynamic farming offers but “vague plans for a return to nature and a new agriculture,” ignores the benefit of modern machinery, and is blind to ill-fed world populations. At the same time, material gain and labor-saving devices are insufficient for meaning in life, “and if the spirit and nature itself are ignored, they lead only to the blind alley of defeat…. Mankind can do without plumbing, but not without St. Frances of Assisi.” Lord echoed the convictions and warning of his longtime friend in his last book, The Care of the Earth (1962). He emphasized the connectedness of a healthy biosystem to a flourishing society: “Man… is in dependent alliance with everything; …and all is held together by a natural though imperceptible chain, which binds together things most distant and most different.”

Through a range of literary, scientific, and political endeavors, Lord, Bromfield, Jerome Rodale, Wallace Stegner, and other influential voices in land stewardship raised important questions about agricultural production and notions of progress. Their work would give rise to a new era of environmental activism seen in the arts, public policy, and grassroots farmer initiatives. Publication of The Decline of Agrarian Democracy (1953) by political historian Grant McConnell (1915-1993) charted the conflict between the USDA’s Farm Security Agency and American Farm Bureau that led to government policies favoring larger producers and economic elites. McConnell’s research documented how New Deal, Grange, and Catholic Rural Life Conference initiatives aimed at preventing erosion and improving soil was overshadowed by other interests in the 1940s. The department’s broader public service and extension education mission shifted to commercial priorities while the Bureau launched mutual insurance programs and lobbying efforts. McConnell’s book documented the negligible effect of these changes on “common man” small farmer recovery and how the war economy enabled larger growers to increase their holdings and influence land-grant college agricultural research.

SARE Heritage Grain Plots (2017), Washington State University Bread Lab, Mt. Vernon, Washington

Columbia Heritage Collection Photograph

Tension between advocates of conventional farming methods using synthetic inputs and those promoting sustainable organic approaches has continued since the invention of artificial nitrogen in the early twentieth century. Productive dialogue took place in the late 1970s during the Carter administration when Secretary of Agriculture Robert Bergland formed the USDA Study Team on Organic Farming which was headed by alternative agriculture researcher Garth Youngberg and soil scientist Robert Papendick. Both men were familiar with Grant McConnell’s studies and conducted dozens of interviews with small farmers throughout America and in Europe and Japan who operated viable organic and other alternative production enterprises. The team released its Report and Recommendations on Organic Farming (1980) that included a series of practical recommendations to support production of organic heritage grains and other crops.

The study was strongly criticized by many conventional farming advocates within the department and commodity organizations. It did succeed, however, in establishing the USDA Office of Organic Resources Coordinator. Although the position was terminated soon afterward in the Reagan administration, Clinton’s Secretary of Agriculture Mike Espy reestablished the office. Several of the 1980 report’s recommendations were subsequently implemented including creation of the Sustainable Agriculture Coalition in 1988 and subsequent Sustainable Agriculture, Research, and Education (SARE) grants. Among numerous other initiatives, SARE funding has supported National Institute of Food and Agriculture programs to promote farm-themed arts education in public and private schools. Following his departure from the USDA, Garth Youngberg established the D.C.-based Institute for Alternative Agriculture and published The American Journal of Alternative Agriculture (now Renewable Agriculture and Food Systems). Robert Papendick directed the USDA’s Agricultural Research Service soil studies at Washington State University in Pullman where he also taught in the Department of Crop and Soil Sciences.

Friends of the Land and Sustainable Agriculture (Part 1)

Ohio farmer and Pulitzer Prize-winning novelist Bromfield deeply loved farming as cooperative art in the classical sense of working in partnership with nature. He combined experience from a rural upbringing with agricultural studies at Cornell and in journalism at Columbia to author nineteen novels and eight books of non-fiction. Bromfield established Malabar Farm in 1939 on a thousand acres near his native Lucas, Ohio, to promote soil conservation, animal husbandry, and sustainable “permanent” farming. Bromfield explained his agricultural principles in a book named for the farm which had become an enormously popular tourist attraction and is now a state park and living history farm. Malabar Farm (1948), illustrated with woodcuts including scenes of wheat, oat, and corn harvest by Kate Lord, is based on Bromfield’s 1944 journal “written when the weather was bad and the work was light.” The book relates dinner table conversation and musings on a range of wartime economic issues, talk about Gertrude Stein and Edith Wharton, “farmer religion,” and political constraint on human tendencies to exploit and do harm.

In 1940 writer-conservationist Russell Lord (1895-1964) and Bromfield founded the Society for the Friends of the Land, a non-profit advocacy organization to publish the quarterly journal The Land (1940-1954) and promote sustainable agriculture. Honorary members included venerable environmentalist prophet Liberty Hyde Bailey, Soil Conservation Service founding director Hugh Bennett, Aldo Leopold, and other leading figures. The group envisioned an interdisciplinary forum as relevant to agrarian affairs as Atlantic Monthly was to urban interests by offering an enriching humus of pragmatic and cultural perspectives. Edited and illustrated by the Lords from their farm near Bel Air, Maryland, The Land was published in Columbus, Ohio, for fifty-two issues under Bromfield’s oversight and featured short stories, articles on farming, science, politics, religion, and poetry. It became an influential voice for a permaculture based on “interdependent” biodiversity and multinational cooperation. The approach contrasted with developments in a world of nationalist rhetoric growing out of rising East-West tensions and the advent of controversial new technologies. Bromfield expressed the group’s hopes for the movement with allusion to emerging issues of the time in a membership appeal:

 Friends of the Land attempts to create an awareness in the minds of all our citizens of the importance to them of the wise use of our soil and water, and to provide a forum for all points and shades of opinion on conservation, to the end that the people themselves shall form their own opinions and take proper action. …There is a great revolution going on in American agriculture. This is being brought about by economic and population pressures, including increasingly high taxes, mounting labor costs and mechanization. These pressures make it imperative that the farmer who is to survive must adopt new and more efficient methods for the production of food, feed and fiber. …Friends of the Land would have our people see that forests, cover crops, grassland farming, inter-row cropping, stream flow, water power, transportation, commerce, and flood prevention are all tied together to promote our prosperity and to determine our standards of living and therefore our health and happiness.

Bromfield’s words underscore the holistic nature of the founding Friends perspectives against the backdrop of events that profoundly affected American farming. They reveal the emerging fault lines between a new order of global cooperation and sustainability envisioned under Franklin Roosevelt, Henry Wallace, and Gifford Pinchot in contrast to unilateral approaches pursued under the Truman administration to increase production at home and unilaterally advance American foreign policy objectives. Despite misgivings over Wallace’s progressive advocacy, his concern over the militarization of science, and conciliatory attitude toward the Soviets, Truman retained him as a cabinet member for six months until Wallace delivered a speech in September 1945 advocating conciliation with the USSR. The new president had given Stalin the benefit of the doubt but Soviet hegemony in Eastern Europe and the specter of totalitarianism led to a fundamental shift in his thinking by 1947 and the beginning of the Cold War.

Truman’s pick for Secretary of Agriculture, Clinton Anderson (1895-1975), reorganized America’s post-World War II agricultural economy to increase domestic food production, alleviate global post-war shortages, and enter the foreign policy realm to counter communist tendencies in developing nations. New Deal initiatives in soil conservation, rural electrification, and other realms celebrated by WPA artists and authors gave way to government contracts with industry scientists, university researchers, and corporate laboratories. Discussion of the contest over the future wellbeing of the planet played out on the pages of The Land throughout the 1940s and early ‘50s. Bromfield and Lord contributed numerous articles as did other notable figures in conservation including Wallace Stegner, Paul Sears, and William Vogt. A collection of popular selections illustrated with Kate Lord’s woodcuts appeared in 1950 as Forever the Land: A Country Chronicle and Anthology.

While soliciting a range of viewpoints on domestic and world affairs, plant genetics, global population growth, and other topics of agrarian relevance, Lord and Bromfield expressed concerns over “quick buck” policies they feared would transform fields into factories and enlist technologies that risked unintended environmental consequences. During the war years, the USDA had suspended publication of the annual Yearbooks but released a 900-page compendium titled Science in Farming—The Yearbook of Agriculture, 1943-1947. In the new volume’s introduction, Secretary Anderson dismissed fears about DDT, genetic testing, and “[concern] that life be too abundant.” A generally favorable review of the book by The Land’s assistant editor James R. Simmons included some skepticism: “I decline to eat the bread that is no longer bread but a puffed-up something that has about as much flavor as ground peanut shells…. I can’t understand why it is necessary to grind the nourishment out of our grain and ship something that must be ‘enriched’ with chemicals before it is fit to nourish the human body.” Simmons also touched on recent national changes that were detrimental to rural vitality—interstate highways that bypassed smaller communities, centralized processing and marketing facilities, and a growing societal affluence that prized consumerism above conservation. The Land’s summer 1953 issue featured “The World Gets Warmer” by meteorologist Harry Wexler, one of the first widely published articles on the likelihood of climate change due to burning of fossil fuels. Bromfield wrote passionately about the dangers of militarism and the nuclear arms race other Land contributors warned of potential dangers from atmospheric testing of atomic bombs.