Drinking Monarch Nectar, AKA Milkweed (Asclepias), Essay 12 of #52essays2017

On the day of the hydrosols tasting with Cathy Skipper and Florian Birkmayer (offered through New York Institute of Aromatherapy), my daily hallucinations were painted blue, an electric blue that did not want to let go its hold on my visionscape. In recent years, I’ve found that strong scents can change my visual palette almost immediately, but somehow that blue day would not give way except for the neon orange of the orange blossom and then the glorious yellow orange of the milkweed that burst through towards the end of the evening.

The way it worked was that each new hydrosol was spritzed into our wine glasses and mixed with a little filtered water. Then we all smelled and sipped and free-associated, allowing the mystery hydrosol to elicit thoughts, feelings, images and yes colors too.

To be honest, it was hard for me not to feel a little competitive. As a blind person, I want my nose to be best, but, as a person new to aromatic aesthetics, I realize this is ridiculous. For several of the hydrosols, I was sure what they were and I was correct, for a bunch, I had ideas of what they were, but having been derived from plants I’d never met before–black copal and palo santo for example–I was nowhere close, and I hate to be wrong!

After the first three I finally relaxed and allowed my mind to wander a bit and not get too hung up about being right. One cool moment was guessing #8 Beeswax correctly, but I had an advantage since, being enrolled in Skipper’s Hydrosols course at The School for Aromatic Studies, I knew that such a thing was possible. That was certainly one of my favorites, as it exhibited a strong distinction between its taste and aroma–the smell reminded me of the spirit of the plants that sustain the hive, while the flavor tasted of the building material itself, a glossy waxy sensation that was almost chewable.

Birkmayer encouraged us to think synesthetically, which in the case of #9 penetrated and offered a joyous blast of yellow orange. I did not know what it was, but I liked it. I was so entranced that I neglected my notes, so unfortunately I cannot refer back to words from the moment to explain the flavor, also it was number nine, so Alabaster–who was gracious enough to accompany me on this odd little tasting adventure–and I were a bit slap happy. We’re not yet persuaded by the concept of vibrational aromatherapy, but our heads were surely buzzing by that point in the evening!

For some of the hydrosols, we were encouraged to imagine an animal. People were not guessing the correct animal for this one and so Birkmayer mentioned butterflies and then I knew and said, “Milkweed?” And I felt justified in all my orange and yellow associations.

The common name milkweed derives from its milky nectar that can trap some nonnative insects, but
Linnaeus, that taxonomist of all taxonomists, apparently named the genus asclepias after Asclepius, the Greek god of healing. Why? I wonder. Milkweed is a new world plant, likely brought back to Sweden by one of his students flung out to all corners of the world to collect new species for Linnaeus to inspect and name. Perhaps he did so because he learned that some natives of the New World used some species for healing, but so many plants have medicinal uses, this seems too easy an answer.

Asclepias speciosa, from which our hydrosol was distilled, is also known as “showy milkweed” because of its flamboyant flowers. It is the special food of the monarch butterfly.

The recognition of the monarch nectar brought me back to the Santa Cruz grove where the monarchs winter. I wrote a poem about seeing those butterflies, which I often visited during my years at UCSC (Go Slugs!).

How many times did I take my friends and family to the little Eucalyptus grove by the ocean, only to be disappointed by the cold and nearly inert clusters of monarchs clinging to the trees for warmth, but for a few flying bravely. The foreign eucalyptus grove and the beach at Natural Bridges are an easy walk but worlds apart.

Once, with a forgotten companion, I saw them fall from the sky mating in the warm afternoon sun. They dropped in our hands and flew apart and I believe it was all not a dream, though the memory has that quality of unreality that sometimes makes me doubt.

 

*This is essay 12 of #52essays2017, written with all four senses and remembered sight. You can read #11 “Melissa Officinalis (or Lemon Balm): Booze and Botany and monasteries Oh My!” here*

 

Adulterated Rose or, The Smell of Regrettable Youth, Essay 7 of #52essays2017

The guy with the hard metal name was beautiful in my degenerate eye. Beautiful with a girlfriend. And a Volkswagen bus. This was around the time of the earthquake of ’89, when the influences of flower power still loomed large in San Francisco. I’d been pining for so long and then he said they’d broken up. We climbed into his bus and he put rose oil (adulterated, I recognize in my mind’s now more refined nostrils) under my nose and kissed me. When I give myself a little credit, I remember thinking it a cheap trick. I was young, but I knew enough to recognize that when it was over the smell under my nose was gone.

Red and white vintage VW bus model.
Sheet Metal Car Camper Vw Bus Volkswagen Model Car

The guy with a name that reminds one of welders, returned to his girlfriend and told her what we’d done, which made her hate me. That hurt too. I then glimpsed adulthood, where quotidian comfort trumps experimental romance.

Then I moved from my mom’s place in the Richmond District to 1462 Haight Street. Out the front door to the right was Ashbury and below a diner. Lazing on Haight Street, breakfast eggs and potatoes stick in the craw. It is this stuckness of regrettable youth that stinks like All You Knead. To live above a mediocre diner, to smell its unclean smells, and still to eat there is a kind of willful anosmia.

Haight and Ashbury street signs.

Similarly, being 19, mostly ignorant and a masochist, I adopted the scent of fake roses, bought for 10 bucks down the street in a crystal shop or some damn woowoo place, as my own. Not sure if I made the connection, but I still loved the smell after the encounter with the guy named for a metal that was the material of which the VW bus that had so briefly cocooned us was made.

Recently, long since those days of low self-esteem and unrefined judgement, I’ve had the pleasure of smelling real rose oil, bought in a precious one milliliter vile, Rosa damascena, and it is sweet and innocent–pink flowered and pure. It is warming to the heart, not meant to bump you upside the head with a reification of sex.

These days I often look to aromatherapy books when I’m feeling grumpy . Keville and Green tell me that it was the poetess Sappho who dubbed rose the “queen of flowers”:

“The fragrance of rose inspired poets and lovers throughout the ages, and it has been used to ‘open’ the heart and ease grief, heartache, loss, and sadness. … Employed for relationship conflicts, envy, anger, and intolerance, it is comforting, supportive through crisis, and an aphrodisiac. It also helps alleviate depression, anxiety, fear, insomnia, and lack of confidence.”
Vial of rose oil on white background.I need to save my pennies for another tiny vial!

And yet, sometimes I feel guilty for my greedy nose, and wonder if it is, even now, worthy of the holocaust of hundreds of flowers. In Aromatherapy I read that it takes up to 60 rose blossoms to produce just one drop of essential oil.

Roses are difficult to raise organically, must be handpicked, and do not have many essential oil glands, so it is often adulterated.

In the essential oil of rose, or rose otto (usually distilled from Rosa damascena) there are hundreds of distinct chemical constituents. At the risk of boring you, but in the interest of proving my point, I will include a few here (from Essential Oil Safety): Citronellol (16.0-35.9%), Geraniol (15.7-25.7%), Alkenes & alkanes (19.0-24.5%), Nerol (3.7-8.7%), Methyleugenol (0.5-3.3%), and so on…

Many more exist in trace amounts, which gives rose its complexity, roundness and depth. Unfortunately, chemists working in the flavor and fragrance industry tend to ignore this fact. They isolate major constituents and reconstruct simple versions of a complicated fragrance. The distinctly rosy constituent geraniol, for example, can be added to rose oil to extend it, but in the process, flattens out the scent.

Isolating a single constituent of rose is like isolating a personality trait, and claiming to know something about the whole person. I doubt any of us would like that very much! Nobody wants to be thought of as only gregarious, only proud, only smart, only funny, only a pain in the ass, only pretty. A flowers unique essence is made up of many things, just as we are, and to pin a couple of trope constituents on a formula created in a lab and slap the term rose on it, is as unconscionable (and comes from the same sad impulse) as bigotry and the creation of stereotypes.

Artificial aromas and flavors are so one-dimensional. And we’ve grown used to it. Eat a cherry flavored candy and you may name it as such, but what resemblance does the cherry flavor candy have to the real thing? Almost nothing. And unfortunately so many of us are weaned on such artificial flavors that we must be reeducated. Even “natural” flavors ought to be suspect in our noses as what is meant by “natural flavors” are organic compounds isolated and reconstituted to create a one-dimensional and highly duplicable taste. Cherries taste all kinds of ways in nature but only one way in a Skittle.

Before I remove my teeth from this subject, allow me to worry the bastards over at Febreze.

I don’t know if you’ve witnessed their ad campaign centered around the tawdry word “noseblind,” but let me just say that as a blind person (extremely tolerant of the liberal use of blindness as a metaphor), I find this term infuriating. I am blind. It is not a great thing to be, but it works its magic in its own particular and mysterious ways. Don’t take it away from me because you are lazy, because you know no actual blind people, or because you fancy them so far away that they would not even be watching, sorry listening to, television.

Why not nosedeaf, thank you very much. Certainly viewers would sniff at the thought of it!

You, Febreze, peddlers of terrible synthetic smells, coiners of mean and unnecessary words, create that which you profess to mitigate. I’ve walked into stores scented with your fruity monstrosities and fell to my knees, praying for anosmia. Anosmia is by the way the word you are wanting, and I suspect a willful ignorance, and kowtowing to the lowest common denominator, who may be put off by a word they do not know, keeps you from using it.

AAAH! Sometimes I truly hate this world with so much contriving that the very truth one professes, is in fact its opposite. And people eat it up. With their thought deafness and their mind blindness, and, above all, their tastelessness.

Quit being satisfied with the fakes, people. Demand the real. It may cost more, but as I mentioned in Sandalwood Love, there is nothing wrong with embracing the scarcity and complexity of precious things. I think it is not going so far to say that if you can’t appreciate these things in a flower, how can you recognize them in a person?

Rosa damascena postcard by resolute

*This is essay #7 of #52essays2017, written with all four senses and remembered sight. Read my previous essay “1984: Late to the Party Again” here*

Ylang-Ylang: Calming the Panic of Love & Memory, Essay 5 of #52essays2017

Cananga odorata illustrated in Francisco Manuel Blanco's Flora de Filipinas. 1800-1803?. Public domain from Wikipedia.When I first read about ylang-ylang (Cananga odorata), I’d no smell associations, but I was intrigued because it is included in so many aphrodisiac blends. It is both relaxing and stimulating, which is a fabulous combination when you’re trying to get it on.

Then I smelled ylang-ylang out of a labeled essential oil bottle, and I realized I’d smelled it before. I was transported to the sexy time in my life when I could walk around unaided–no white cane, no guide dog, no boyfriend. I’d just arrived in New York City and I could see well enough to walk around without mobility help, but not well enough to read signs or see into shops.

I was a grad student at NYU and was visually impaired, but if you saw me walking around campus, you would not know that I was not like everybody else, unless of course you knew me and therefore knew not to be offended that I did not recognize you. If you recognized me from a class but did not know that I was visually impaired, you likely thought my lack of acknowledgement meant I was a snob. Anyway, in those days of wandering around enjoying the feel of walking if not the visuals that many peripatetics associate with the activity, I regularly got slapped pleasantly in the face by a smell that emanated from a large and bustling shop–perhaps a hair salon–that sat on the corner of Waverly and Sixth.

Each time I walked by, I would hesitate and want to enter, wondering what it was because that smell reminded me of an earlier scent memory. I’d coveted the brilliantly colored hair on the box of Salon Barbie, and her dyes–red, purple and black–smelled of what I now suspect to have been some kind of synthetic ylang-ylang. The smell stuck with me though any fun I may have derived from the oddly punk rock toy has completely evaporated.

That said, I was never a very olfactory-oriented person but rather a visual one. I can still see the photograph on the box of that damn doll with its perfect purple hair quite plainly in my mind’s eye. I still feel like a visual person, but I’ve not got the sensory inlets going anymore, only the imagination and the hallucinations.

The deprivation has finally led me to appreciate smell, and recently I find that I get a little depressed if I don’t have any around–pleasant ones I mean–those that I can control, or at least name and manipulate. The fakey-wakey smell of my cheap-ass Dove “cucumber” shampoo does not count.

Though I cannot, at present, afford to have everything be blessed by natural fragrances, I fantasize about a future wherein I will have complete control of my smellscape. I underline the word fantasize here, because though I long for the day when I can indulge in all the aromas I read about and lust after, having complete control over what enters the nose is of course impossible, as smells permeate all, and each person has their own. Sadly my smellscape could not be vacuum-sealed unless I had no desire to go out or have sex.

Godin brushing hair reflected in antique vanity mirror

Speaking of sex, let’s return to the heady floral scent of the tropics.Ylang-ylang, long admired in its native islands of the Philippines, Malaysia and Indonesia for its good effects on libido, skin and hair, grew commonplace in far-away England as Macassar Oil, which was so popular as a styling product for men, that doilies were soon required to protect the backs of upholstered furniture. As mentioned in Aroma Victoriana, the men and women of 19th century England were as mixed up and contradictory as any society, and so it is likely the sensual fragrance of ylang-ylang, reminiscent of bodies barely clad and warmed by the sun, was likely more than one kind of bother in the buttoned-up drawing rooms.

But ylang-ylang is more than an aphrodisiac, or rather, its effects on the libido result from its ability to relax and regulate extreme emotions and to calm the physical and mental effects of anxiety. As Peter Holmes remarks in Aromatica:

” In dealing deftly with intense emotions, Ylang ylang bestows a relaxing, softening, harmonizing and lightening grace over the energetic Heart – a function that is expressed in Chinese medicine as ‘nourishing Heart Blood.’ Its ability to transform dark negativity into lightness and positivity is perhaps unique. In opening us to the lightness of being, Ylang ylang is clearly a remedy for the soul as much as for the body.”

Jar of Yes Organic Ylang-ylang rose night cream on antique vanityLiving now as a vagabond, my essential oil collection has dwindled. Knowing this, my best friend and owner of Yes Organic Boutique, gave me a beautiful cream made with ylang-ylang and rose essential oils. I slather it on at night to smooth the wrinkles of face and psyche. The calming effects of ylang-ylang have been of particular interest to the latter, which has recently been subject to panic attacks.

I was a panic-prone person in my twenties, so I can’t blame it all on aging and blindness, but these two aspects combined with the recent casting off, has allowed the sleeping giant to rise. The first panic struck on the plane from NYC to Denver and hit me again in the bus from Colorado Springs to Albuquerque. In lesser forms, it hits me in each new house, where even the simplest cupboard or table can present a problem–one can be mired in a cul-de-sac no bigger than a public bathroom stall when one cannot see. As mentioned in Winter Wonder Maze, I’m terrible at being blind, and worse when I feel people’s eyes on me. So, putting myself in the position of being in the households of others, with their crap acting as constant reminders of my lack of freedom and control seems an odd place to be. Stupid maybe.

And yet. And yet, who is truly free? My dear friends with house and car payments, children and spouses may be free to walk about the cabin, but they are not completely free either. Freedom comes in degrees, independence a balancing act.

My mother wonders why I do not get another guide dog. “You used to care so much for your independence,” she opines. She does not know how hard-fought and lonely it was. She does not feel the memory weight of its superficiality, tethered as it was to anger and the need for a love that I wielded like a club.

She also does not believe that in these strange blind cul-de-sacs there is another freedom, and the only one that may yet transcend this mortal coil. I will, like all of you, grow feeble, if I am permitted to live, and this body will be but a sack of memories of a time when the body was free. But if the mind is free, there is movement in the soul, right? And, just as those ancients used scent to communicate with the gods, I use smell to transport me out of this body that fears each vase-clad armoire as if it were an on-coming bus, this body that shuffles about like that of a very old person, slowly, carefully, with embarrassing trepidation.

If my worth were measured in my tiny steps taken , my life, like Prufrock’s measured out in coffee spoons, I would surely collapse in a heap of self-loathing. But if I follow the scent of the Tropics to a place where I can learn and learn and continue to learn, I do not feel old or blind or feeble. Not useless. On the pleasant smelling days, I believe myself to be an organism still sucking life and pleasure, in and out.

The trick is to follow the nose up and up into the rarified air of the unforeseeable future.

The trick is not to panic.

The trick is to keep breathing, nostrils flared as if smelling a flower for the very first time.

 

*This is essay 5 of #52essays2017, written with all four senses and remembered sight. Read my previous essay Hannibal: From Acting to Aromatics here*

Distillation Installation: With All Four Senses and Remembered Sight

Godin with head at Stravinsky's level on braille table top

Seventeen years of living in a three-bedroom Astoria apartment distilled into one art installation: so much lost and gained; so many things dismantled and recreated; so many memories… I lived and worked in every room of that home. Beginning in the front room with my first guide dog and the boyfriend whose munificence allowed me to remain long after us, to the back room where I came into being as a blind person and an artist. Once I looked out the window to fire escape and cherry tree, the identical buildings across the yards, but, upon my departure, I saw only a pixilated rectangle of light.

I last moved towards that window to open the curtains for Stravinsky, a creeping pothos (Epipremnum aureum) I bought to commemorate the untimely death of my second guide dog Igor. Igor’s poem, To Stravinsky, ensured that his plant spirit would occupy the living center of Distillation Installation. Also his small relics made into a piece whose description sounded, “Glue on memories.” (I audio labelled title and description cards with my PenFriend, dots that speak with my voice when touched with tip, analogue/digital magic!)

Finally, in later years, I came to rest in the dark corner room, dubbed the bat cave. Its purple walls with a genie providing pulsating light and smellscape in the last days, days when future was uncertain about everything except the important things: art and love, love and art, warm stability with our two hearts knocking out a stronger beat, keeping up the simple hard tune, “desire is suffering, desire is suffering, desire is suffering…”

So much potential had to be tossed. Braille books and maps, fabrics that wanted sewing, yarn that wanted knitting, paints that wanted painting–so many things collected and hoarded in the late stages of dissertation-that-wanted-writing. Throwing so many things out seemed so sad–so much potential lost that I conceived making an installation out of some precious drops of it. for months, I put things that might be of value in one corner and made bags for the street scavengers to pick through and utilize, minimizing landfill.

Godin with her hand sewn dresses hanging high.

I’d decided years ago that I had enough clothes and began repurposing. Too many things in the world. Too much crap. I kept ahold of my crap so that I would not be so tempted to buy new crap. With that in mind I first put fringe on deconstructed sweater and kept on with my refashioning old things into new by hand sewing. But of course, there are always things to buy that are not clothes–technology and musical instruments–and I can’t make shoes…

Distillation Installation manifested in the once-living room, the home’s center, with tin ceiling painted over long before I arrived. As I worked, around me as I sorted, discarded and built, its cracked paint fell about me in apocalyptic chips.

The braille blinds were the first part of the installation. “See ya later world,” I thought as I sewed double-pages of a Dr. Jekyll and Mr. Hyde braille book together, and lay them in cascading strips from the wrought iron double bar curtain rods bought in the early years of domesticity.

Then began the odoriferous papier-mâché experimentations. If I’d had a budget I would have invested much more heavily on smells, because flour takes a scent, is cheap, and good for sticking odd things together (pink taffeta on shovel) and mummifying others (drum music on accordion), but aromatic distillats, the cells of plant matter burst asunder to capture their aromas in oil or water, are rightly expensive. In the end, I could not give each piece a signature scent. But the room was scented: eucalyptus (Eucalyptus plenissima) and lavender (Lavandula angustifolia) bubbled in the ultrasonic diffuser in the Never Be Sorry exhibit, and in the corner under Prague Castle, a fan diffuser blew sweet orange (Citrus sinensis) and black spruce (Picea mariana), while the hanging braille cranes were lovingly spritzed with orange blossom water from the bitter orange tree (Citrus aurantium).

Godin tilting sunglasses at hanging braille origami cranes.

My origami braille cranes–not a thousand as planned, but a lot–hung from wire hangers suspended on the five blades of the dusty ceiling fan with three colored lights–blue red green–in the center sockets for a soft organic look.

Beneath sat Stravinsky on his personal braille-mâché tabletop–the last-minute decision that worked well to create small gasps when the curtain opened on the night of the goodbye tours.

I see it all in my mind’s eye and am proud to have done this thing–compensatory vanity! And why not cover over the mirrors (if I can’t look at myself why should anyone else?)–the gilt one sacrificed its mirrorness first, covered over by gold dust and finger paint scrawl, “Never Be Sorry,” another poem-inspired exhibit.

and “by following the scent” near the end–mirror removed from useless vanity, covered and dusted in mist and pink lipstick. Goodbye to the stage and the music and the light. Hello dazzlement and words and another trip in new places. No guilt just a bomb left behind, time tick tocking until another home will be made and destroyed, until the end when I leave all homes for the last time, leaving behind a fine distillation of my experience of the world, overwhelmingly flavored by brilliant hallucinations and this long eye disease my life.

Godin pointing at her self portrait, an abstract finger painted head on a reflector tape wall.

[All images by Geo Geller. Check out our conversation in Distillation Installation HERE!]