Sickles and Sheaves — Farming, Faith, and the Frye (Part 6)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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Trinity Belfry and Sanctuary (c. 1960)

Construction of our substantial Trinity Lutheran Church built in 1949 was based on Old World Northern European ecclesiastical design by Edwin W. Molander (1901-1983). The Spokane architect had received prominent regional commissions for Northwest churches and public buildings that reflected his distinctive blend of traditional and modern features characterized by exposed rough-hewn timbers, natural stone, and decorative carvings. A regnant color scheme of Prussian blue, turquoise, and umber with gold filigree and trim was used throughout the vaulted sanctuary and an attached cloister porch featured a substantial frieze of carved wooden panels depicting the life of Christ in symbols and Latin monograms. One approached the church’s main arched entry as if gently entering hallowed space.

The schedule of Pastor Fred Schnaible’s lectionary readings—presented weekly in both German and English, featured associations of such ancient Jewish harvest festivals as the First Fruits “wave offering” of barley sheaves and Feast of Harvest Ingathering with Early Church commemorations of Easter and the Transfiguration of Christ. Pastor Schnaible safeguarded the church’s remarkable library of rare books contributed by his predecessors including a massive volume by Christian Hebraist Johannen Lund (1638-1686) on the Old Testament offerings, Die Alten Jüdischen Heiligthümer, Gottesdienste und Gewohnheitenbound (The Old Jewish Shrines, Worship and Customs). The book, printed in 1701, was bound in vellum and lavishly illustrated with woodcuts by the German engraver Johann W. Michaelis of many biblical scenes related to ancient pastoral and agrarian traditions. Pastor Schnaible learned of local farmer and church member Walter Scholtz’s special skill as a calligrapher and prevailed upon him for years to inscribe countless confirmation certificates and other church documents in his distinct Old World script of red and black with gold embellishments that have become treasured works of art in their own right.

Plan of the Camps of the Children of Israel and Gathering of Manna (detail); J. W. Michaelis (engraver) and Johannen Lund (author); Die Alten Jüdischen Heiligthümer, Gottesdienste und Gewohnheiten (1701); Ames Library Archives, Seattle Pacific University

Weekly worship services at Trinity featured “All Praise the God of Harvest” (“… with head and heart and voice. All praise the God of harvest; creation all rejoice”) and “Where Are the Reapers” (“sheaves of good, sickles of truth”) choir cantatas and hymns as well as sermon texts from Ruth about barley gleanings and her Kinsman Redeemer, Boaz. Our old brown hymnal featured considerable music of classical origin including John Galloway’s “Lord of the Harvest, Thee We Hail,” based a Franz Haydn tune from his 1798 oratorio Creation. Architect Molander’s majestic panels also included broad window base panels displaying carved grain sheaves as if homage to pre-literate medieval times when clerics valued visual expressions of biblical history and spiritual truths in cathedrals and chapels throughout Europe. We heard Psalms on “abundant wheat throughout the land” (72:16), prophetic words on nations giving up war and beating “swords into ploughshares and their spears into scythes” (Isaiah 2:6), and the weekly-sung offertory: “Gather a harvest from the seeds that were sown, that we may be fed with the bread of life….” Jesus’ familiar parables told of grain seed, bushel baskets, sickles, and harvest—these in the fourth chapter of Mark’s Gospel alone. 

Sickles and Sheaves — Farming, Faith, and the Frye (Part 5)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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Home, Church, School

Our mother was an avid reader and may have been among the few 1960s Book-of-the-Month farm wives in the vicinity which provided us with early access Steinbeck’s The Red Pony, Catherine the Great’s Memoirs, and other beautifully illustrated and bound volumes. Thanks to Mr. Yenny, our formidable school principal and eighth grade teacher, more thorough study of Grandpa’s poets came our way with agrarian relevance. We read every word of Longfellow’s Evangeline aloud in class, and my hexametric memories of “Acadie” remained evermore vivid not only because the heroine’s evocative if peculiar name was the same as my maternal grandmother’s middle name, but because the epic made recurrent reference to words familiar to our rural experience. In just the opening lines we met “goodly acres,” “harvest heat,” and “reapers at noontide.”   

Hans Franke (1935), Harvest Scene (detail)

Apart from a large mirror and family pictures on our living room walls, our home had little in terms of framed decor. But lack of popular country scenes by Millet or Brueghel did not limit the colorful and meaningful existence of a threatened agrarian lifeway. We were immersed in it. The “Northwest Drylands” popularized on calendars and canvas a generation later by photographer John Clement surrounded us in every direction. I enjoyed periodic visits to the home of an elderly relative and storyteller, Clara Schmick Litzenberger, not only to listen to tales passed down about Old Country living but also because of her wide-ranging interests in music and art. The copy of a large harvest time painting hung in her living room that, except for the distant woodlands, could have been of fields surrounding nearby Steptoe Butte. The artist was an obscure German, Hans Franke, and I learned many years after Clara’s passing that he favored scenes in the very vicinity of our ancestral Hessen homeland. We did not know the place existed back then, but my boyhood interest in these topics must have evidenced some indication of kindred spirit. Upon her passing in 1979, I learned that Clara had willed the painting to me. 

Edwin Molander, Grain Sheaf Window Panel (1949), Trinity Lutheran Church, Endicott, Washington

Dad also kept a 1930s English translation of the German Ohio Lutheran Synod’s Gebets-Shatz, or Treasure of Prayers—probably a confirmation gift, with a “Harvest Festival Prayer” that reminded listeners of forces beyond mortal control known to farming folk: “O Give thanks to the Lord; for He is good; because His mercy and truth endure forever…. O, how we took we feared the destruction of the precious grain in the fields! O, how we took thought and troubled ourselves, lest the bread which God has yet given us… might be snatched away. Thou has given us the early and the later rain in due season, and has faithfully and annually protected our harvests.” Confirmands in my day were customarily presented a similar small volume containing a “For Fields and Crops” prayer: “…Teach me, dear Lord, to know that Thou dost supply, in due season, daily bread for us and all mankind. Give us the needed diligence and necessary skill in the sowing and gathering of our harvests. Protect our fields from hail, fire, and floods, and let the earth yield its increase. Make us a thankful people as we enjoy working amid growing things, and open our eyes to behold the beauty of Thy creation.” 

Sickles and Sheaves — Farming, Faith, and the Frye (Part 4)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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As I explored more fully our elders’ stories of harvests past and present, it also dawned on me that my grandfather’s treasured “Lautenschlager and Poffenroth” photograph (see Part 2 of this "Sickles and Sheaves" blog series) had been taken at the John Poffenroth farm near our home place north of Endicott. Grandpa was there because his older sister, our short, in dominatable Aunt Mae Poffenroth Geier, had married John. Beloved and sometimes feared Aunt Mae was a no-nonsense paragon of self-reliance. She forever cooked on a woodstove in her small Endicott home, sang and played the familiar Volga German hymn Gott ist die Liebe (God is Love) on an oak pipe-organ in her small living room. Had she decided in her seventies to butcher a hog or drive a tractor we would have gotten out of her way. She and John had raised their family just over the hill from where the 1911 harvest picture had been taken, and in a 1963 memoir she provided valuable insight regarding women’s essential and substantial roles at harvest time, even during pregnancy:

“We raised big gardens. An early garden was close to the house and late garden with potatoes, watermelon, and cucumbers out in the field away from the house. Sometimes I got up early while my children were still asleep to hoe the potatoes. It was quiet and peaceful with the fresh dew on the wheat fields and garden smell. Nothing I liked better with only the sun coming up over the hills and blue sky. ...When my twins were born we were harvesting our winter wheat. I was cooking for ten men and just before they were born the men went out to another place to harvest. Between then and when they came back to cut our spring wheat I had my twins and was back on the job cooking again and had to help to do the chores and heavy work.”

“…For at least three summers I also cooked in harvest in the cookhouse for Conrad Hergert’s crew. From ten to fifteen men were on hand. I baked bread for all the men every other day and cooked on a big old wood stove. One morning I counted the baked things and besides six loaves of bread, I baked twenty-four biscuits, twenty-four cupcakes, and three pies. If you ever wanted to smell something good it was coffee made in a big coffee pot on the stove. I got up at 3:30 in the morning to light the stove to have it hot by 4:00 a.m. to fry bacon and eggs, sometimes pancakes on Sunday morning.”

R. R. Hutchison, Busch Threshing Bee (Edgar Bergen & Chris Busch both in bottom photo), 1953; R. R. Hutchsion Studio Photograph Collection; Manuscripts, Archives & Special Collections; Holland/Terrell Libraries, Washington State University, Pullman

Among our area’s most colorful and continuous vintage harvest experiences were the September threshing bees first organized by Chris Busch at his farm near Colton, Washington, in 1947. Busch had known steam-powered threshing from his Palouse Country youth and as the massive old machines and harvest wagons became obsolete he began a collection that numbered over thirty in various stages of operation in the 1940s. Word spread throughout the region about the remarkable assemblage and with help from a dedicated network of other enthusiasts including neighbor Bill Druffel and C. R. Miller, retired WSC professor of agricultural engineering. Busch organized the Western Steam Fiends Club in 1951 with members eventually drawn from six states and three Canadian provinces. The event kicked off with a grand banquet sponsored by local church and school volunteers followed by a parade led by Busch’s favorite 1912 Minneapolis engine, 1917 McCormick reaper-binder, and Case separator. A spectacle of old-time harvest festivities followed that drew as many 4,500 onlookers, and the tradition is carried on today at the annual Palouse Empire Threshing Bee held on Labor Day weekend at the county fairgrounds near Colfax, WA. 

Sickles and Sheaves — Farming, Faith, and the Frye (Part 3)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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Like young people in many rural areas, I spent considerable time among community elders and while still in high school decided to interview all first-generation immigrants living in our vicinity who had been raised in our ancestral Volga German village of Yágodnaya Polyána (Berry Meadow). This mission led to dozens of visits, usually in the company of Grandpa Scheuerman or my heritage-minded aunt, his daughter Evelyn Reich. She was our indefatigable family genealogist and provided essential service in what I later learned from social anthropologists was the special role of “folk broker.” In this way I was able to start listening and recording a fascinating series of oral histories and other memoirs about life in another dimension inhabited by field spirits and dire wolves, braucheri (folk doctors) and hexeri (spell-casters). My special interest came to be life an dem Khutor (“in the country”) where villagers sometimes lived for weeks on the open steppe miles away from Yágodnaya to tend fields, range livestock, and harvest their crops.

I sometimes attended early morning German language services at Trinity Lutheran in Endicott with Grandpa, and remember him visiting afterward once with his old neighbor on the farm Conrad Blumenschein in their peculiar Hessian brogue about the unusually dry summer. A stately, powerfully-built fellow who always dressed for church in a double-breasted blue suit, Conrad had emigrated in 1913, so had been old enough to thoroughly experience the Old World seasonal farming cycle. That Sunday I heard him tell how in the Old Country they feared times of drought and the dreaded Hohenrauch (“High Smoke”). This withering wind sometimes mysteriously arose from the Caspian and could reduce a ripening grain crop to tiny, shrunken kernels in just a few hours. “The Russian peasants would fall on the ground and pray for rain,” Conrad said. I asked if it did any good. “Ach,” he smiled kindly, “das Gebet kann nur hölfen.” (“Well, prayer can only help.”)

Above: Lautenschlager and Poffenroth Threshing Outfit near Endicott (1911), R. R. Hutchison Photograph Below: St. John Harvest Carnival (1913), Whitman County Library Heritage Collection, Colfax, Washington

On a visit to see Conrad at his tidy St. John home in May, 1980, I asked about his farming recollections as a young man in Eastern Europe, which included his vivid memories of the Volga harvest and hints of Ilya Repin’s famous painting The Barge-Haulers and familiar eh-eh-ýkh-nyem (“heave-heave-ho”) dirge of The Volga Boatman:

“Harvest began the last of June and early July. Sometimes folks ran out of bread by then so cut several bundles to dry and get 40 to 100 pounds of rye to get by. In July rye was pulled up to aerate in rows, two to three weeks of drying, then hauled home to a threshing yard on the outskirts of town. Four to six men flailed the bundles, one side at a time. Then the bundles were cut open. The ground had been trampled hard by the horses and watered down. Others lift the bundles with forks while others flail and stack it for the horses and cattle. Those who didn’t have granaries often flailed bundles on the ice in the yard during winter. Fanning mills were then used after flailing, a pile of grain put in to clean it and wheat runs out on canvas then shoveled into hundred pound sacks.”

“...In early August wheat harvest began and was done differently. We put tents up where there were no buildings an dem Khutor. ...Cut [the grain] with a sickle and bundled, then bundles opened and spread into a big circle, about 100 to 200 bundles. Then [it was] trampled out with horses and wagons, left alone in the middle, then with a pole go all around the ring and turn it over to shake the wheat [kernels] out. Then repeat with the horses. The women shake the stalks and rake it out on a pile. The chaff and wheat are piled into the center of the ring, 200 to 300 bushels. Then it is run through a fanning mill and deposited again on a big canvas or bagged. Sometimes wheat was taken to the Volga River and loaded by hand onto boats which were stranded in the river because of low summer flow, but that’s where the buyers were.” 

Winter Sheaves and Celebration

Although holiday decorations and winter cold seem far removed from the affairs of summer harvest, in pre-industrial times life remained busy year-round as families needed to tend livestock and carry on other important chores. Considerable threshing of grain sheaves, for example, took place during winter as the brittle stalks that had been stored in barns since harvest were strewn about the covered threshing floor, or even on ice outside, to be struck with wooden flails in order to separate the golden kernels from the heads. To be sure, the winter time pace of labor was less intense than other seasons, and many agrarian traditions were associated with shortest days of the year.

Scandinavian farmers customarily saved the last harvest cuttings for the ceremonial “Yule Sheaf” (Norwegian Julenek, Swedish Julkarve) of oats or other grain which was suspended from a pole or barn roof during Christmas week and New Year as a blessing to the birds and goodwill offering for a favorable growing season. This tradition continued among some families in eighteenth century America as described in verse by Ohio poet Phoebe Cary’s “The Christmas Sheaf”:  

"And bid the children fetch," he said,
"The last ripe sheaf of wheat,
And set it on the roof o’erhead
That the birds may come and eat.

And this we do for His dear sake,
The Master kind and good,
Who of the loaves He blest and brake
Fed all the multitude."

As children we were always presented with a sack containing peanuts and an orange after the annual church Christmas program in our hometown of Endicott—a tradition that continues to this day. Only later did I learn that in ancient times oranges commonly symbolized the sun while acorns and other nuts were also given during the week of the winter solstice (December 21) to celebrate the return of longer days and life’s renewal. 

Suesspleena Before and After Flipping

Like families of many cultural backgrounds, ours has also long observed festive Christmas Eve dinners. A favorite entrée is the wide, paper thin Suesspleena egg batter pancakes and accompanying hot Schnitzel fruit soup of raisins, apples, peaches, and other flavorful “pieces” for which it is named, which is mixed with cream just before serving. When our beloved cousin Al first married into our clan many years ago, he led the procession around the holiday buffet and assumed the bowl of steaming brown was gravy, so proceeded to cover his mashed potatoes with it. We’ve never let him forget.

These pancakes remain an important part of Maslenitsa, Eastern Orthodoxy’s “Butter (or Crepe) Week,” celebrated now in the spring during Lent but observed in ancient times during mid-winter. Our German ancestors in Russia were known to stack them into layers spread with jam for a delicious treat, and the “4-3-2-1” recipe handed down to us remains a holiday staple. It calls for 4 eggs, 3 cups of milk, 2 cups of flour, and 1 tablespoon of sugar. We also add a dash of salt and fry them on a hot buttered skillet. Don’t worry if the first one or two are ruined as you gauge the proper temperature and master the flipping technique. After all, there is an old Russian saying that basically translates, “The first blina (pancake) is a disaster”!

We now LOVE making family Suesspleena meals using our Palouse Heritage Sonoran Gold flour. Not only is it more authentic than the modern flour you'd buy in the grocery store today, but it delivers a naturally sweet, nutty-tasting flavor. Delicious!

Sickles and Sheaves — Farming, Faith, and the Frye (Part 2)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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Palouse Harvest Memories

Richard and Don's grandfather, Karl Scheuerman, during harvest

When I once asked Grandpa Scheuerman for explanation of harvest operations in bygone days, he retrieved his leather-cased sack-sewing needle—still razor sharp after many years in retirement, and an old photograph from his bedroom closet. The image (shown below) was labelled “Lautenschlager and Poffenroth, 1911”—surnames of familiar relatives, and I instantly recognized Grandpa standing under the wooden derrick clasping the handle of a pitch-fork. He then patiently described the role of each member of the substantial crew and introduced me to terms like derrick table, header-tender, hoe-down, and other agrarian vernacular from the steam-powered threshing era. Many farm families treasure such pictures today, and I have unrolled many that stretch as wide as a kitchen table. Grandpa delighted in relating tall tales of bygone August “thrashin’ weather” happenings—when the Moore brothers threshed a thousand sacks of grain in a single day the same harvest season R. R. Hutchison took that picture, the bumper crops of 1908-1911, and how Black field hand Otis Banks could lift a 120-pound sack of wheat with his teeth.

Among the few books I recall in my grandfather’s home were a Bible and ancient three-volume New Testament commentary in German, while our father’s most frequented volume may have been the weighty and exceedingly smudged parts manual to our dilapidated International-Harvester Model 160 pull-combine. I felt a bit embarrassed in a day of efficient self-propelled machines operating in every direction that in the 1960s we still resorted to an exceedingly faded red Rube Goldberg contraption of sprockets, pulleys, and straw walkers that Dad patiently guided through the seas of wheat during our annual month-long harvest. But the good feeling of accomplishment swept across all the crew with the cutting of the final swath that vanquished any boyhood unease over lost grain, equipment collisions, or other mistakes in the field. “No one should be deprived of harvesting,” artist-folklorist Eric Sloan observed in his illustrated 1971 rural memoir, I Remember America. “Beyond the value of feeling the fruition of nature all about you, there is the satisfaction of beholding the results of your own efforts.”  

Don and Richard "helping" during harvest

Richard and Don's father, Don Scheuerman

Like most boys in wheat country, my brother and I started driving truck in the harvest field on teen farm permits that legalized our trips throughout the day to the Endicott and Thera elevators to unload grain loaded into our faded red and blue ’56 Chevy truck and older black Ford. The obligation came with explicit warnings about harvest time dangers—field fires, equipment collisions, and tragic combine tip-overs on steep Palouse hillsides that claimed the lives of more than one boyhood acquaintance. While periodic visits to the field by friends and relatives provided welcome breaks in the daily routine of waiting for the several “dumps” needed to fill a truck, considerable time for other pursuits is available when waiting alone in a draw of stifling heat or on a breezy hilltop. Perhaps our mother’s example had led us to be readers of paperbacks available on a large revolving rack at the local drugstore. While my brother was attracted to Ian Fleming spy thrillers, I found myself introduced to new worlds of former experience through historical fiction. 

1925 Scrapbook of Country Poems Fragement (Vol 2, Winter 1925, Private Collection)

The Galilean archaeological dig in James Michener’s The Source (1965)—a thick book I thought would last all summer, acquainted me with Stone Age wadi life in the fictional village of Makor where the Ur family matriarch comprehends the value of planting grains for self-sufficiency while the men travel widely to hunt. Having grown up hearing many tales of our Norwegian-born Sunwold great-grandparents on the Dakota frontier, I was also incredibly captivated by Ole Rølvaag’s stirring and often disturbing scenes in Giants in the Earth (1927) in which Per Hansa and his wife, Beret, struggling against storms, locust plagues, despairing homesickness, and the mystical universe of Old World thought. The Hansas, in turn, led me to meet Karl Oskar and Kristina Nilsson in a subsequent summertime encounter with Vilhelm Moberg’s magisterial four-volume Emigrant Series (1949-1959). The books dramatize the 1850s Swedish farmer immigrant saga of home building and barn raising, and planting and harvesting in Minnesota Territory. Experiences described on many pages reminded me of family tales my grandfather often spun about Palouse “sod-bustin” days as he rode in the harvest truck with us to see the hills of his youth—

“He liked to sit at the window and look out at his fields; this was the land he had changed. When he came the whole meadow had been covered with weeds and wild grass. Now it produced rye, wheat, oats, corn, potatoes, turnips. The wild grass had fed elk, deer, and rabbits; now the field yielded so much there was enough for them as well as for other people.”

Sickles and Sheaves — Farming, Faith, and the Frye (Part 1)

This blog post is part of a series I (Richard) am writing about my past life experiences that helped develop a love and appreciation for agricultural heritage in general and landrace grains in particular. The series is called "Sickles and Sheaves - Farming, Faith, and the Frye" and you can view the other parts of this blog series here.

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My Personal Connection with Landrace Grains

Somewhere in one of the outbuildings on our small Palouse Country farm in southeastern Washington, our parents kept a scythe (pronounced sigh, or sithe) in semi-retirement. The old implement appeared only when barnyard grass and weeds needed to be cleared, or when Dad thought his two sons had unnecessary time on their hands. We didn’t have a tractor-powered sickle mower like some of our neighbors, though a thoroughly rusted reaper-binder from our grandfather’s day rested securely in the branches of a cherry tree on the hillside just above our house. The dilapidated contraption with wooden reel, drive chains, and sprockets was an object of endless boyhood fascination. Although the machine had been abandoned long before Dad took over the farm in the 1940s, he had somehow mastered the elegant art of binding sheaves for decorative use or for us to enter into the Palouse Empire Fair, which to this day still has grain sheaf competition.

Our old scythe’s serpentine handle seemed taller than I stood so was awkward to handle. But Dad could adjust the weathered grips, which he called nibs, and would offer refresher lessons in swath, rhythm, and sharpening before sending my brother or me out to battle formations of wheatgrass and Jim Hill mustard. “There’s a right way, and a wrong way,” was his familiar refrain while demonstrating many tasks like this one for our rural edification, and as if watching some peculiar country dance he showed how to keep the heel down with each measured step to avoid sticking the point of the blade into the ground.

Located between the small rural communities of Endicott and St. John, Washington, our place was deep in the Pacific Northwest’s Palouse Country—a legendary grain district known for steeply rolling hills and a favored destination for landscape photographers from around the world. I suspect farms like ours held in common with many others a peculiar geographic nomenclature necessary for communication about what had happened long before, or what needed to be done with scythe, hoe, or other tool. Far behind the house we had the Huvaluck (Hessian dialect for “Oat Hole,” from Hafer, German “oat”), Windmill Hill, and Spud Draw where our clan had planted potatoes in an endless furrow during the week of Good Friday for at least three generations. The head of the draw led over a narrow hill aptly named The Saddle. With only a half-section, our farm was small even by 1960s standards but there could be no doubt where we might be directed to tend a thistle patch or harrow or rendezvous with the combine to unload grain since so many named features existed on that tussled 320-acre half-section.

Volga German Scything Scene (1768)

Concordia Center for Volga German Studies, Portland, Oregon

Over time I came to understand my father’s and grandfather’s familiarity with the land’s every twist and turn, and eventually my own, in terms that defy analytics. Nature writer Barry Lopez characterizes such natural relationships in Home Ground as “the unembodied call of a place, that numinous voice” when a hill, draw, or untilled sodpatch wildlife sanctuary seems to become “something that knows we are there.” This mystical relationship fosters a deep connection with landscape that predisposes some to feel a kinship of comfort and familiarity with certain other places—in my case the undulating Hessian Vogelsberg district in central Germany, and the steeply rolling Bergseite of southern Russia’s black earth Volga region; places inhabited by my ancestors long ago. People have perceived these forces since time immemorial, and they continue to inspire. The Lake District sustained Wordsworth like Suffolk enlivened Constable, and the Great Plains fed the souls of Willa Cather, Ole Edvart Rølvaag, and Hamlin Garland.

The broad hill rising westward from our house toward the entangled cherry tree reaper was steep enough to accommodate a spacious root cellar attached to our ramshackle porch. The cellar had been built not long after our paternal Russian-born German great-grandparents arrived in the Palouse in the early 1890s, so we were warned to stay out due to threat of collapse from the weight of the ground above. Our elders called these places zemlyanka, Russian for “earth-home,” which likely were successors to the medieval German grubenhaus (“dug-house”) their ancestors had fashioned in Hesse. Our people had lived in such places when first immigrating to Russia from Germany during Tsarina Catherine the Great’s reign 250 years ago. Some even inhabited such dens after arriving in the Pacific Northwest until a proper family home could be built.

The young are disposed to explore, so in our youth we ventured inside the cellar periodically to see dimly lit evidence of life from yesteryear. An exceedingly dusty pituvfka kitchen worktable stood against one wall with two rounded flour bins suspended beneath, and some old glass canning jars remained on wooden shelves. Most had long been empty, but a few held grain safeguarded by our grandparents. Perhaps these were remnants of the Hirsche Brei (“millet porridge” in Hessian) that Dad remembered eating with honey as a boiled wheat breakfast mush in Depression days. I learned later that usu Leut (“our people”) had brought ancient landrace grain seed from Russia’s Volga region and the Ukraine, varieties named for colors of kernels and glumes like Russian “Turkey” Red and Odessa White wheats, Purple Egyptian Hulless barley, and Green Russian oats. Perhaps the cellar had also served as Grandpa’s seed vault.