the hula hoe does not come with an UNDO function
Mon 2014-06-16 22:22:56 (in context)
- 6,434 words (if poetry, lines) long
Today I got to wield the hula hoe for my first time this season. Yay?
*pant* *pant* *wheeze*
The hula hoe invariably goes with hot, sunny weather. It comes out when the weeds pop up and the ground is dry and flaky. For me, it also usually means an aching back and blistered fingers, because I still haven't gotten this right. I must be getting better at it, though, because each year the back aches less and there are fewer blisters.
And fewer unfortunate casualties on the field.
To reiterate: The business end of a hula hoe is a sharp loop of steel that slices just beneath the soil through the roots of weeds both seen and unseen. It lets you deal with weeds faster than if you were picking them by hand. It won't help you with the weeds that are using the wanted crop as a sort of human shield, so to speak, but you can get very close to the line of the crop without missing a beat. If you're clever, that is. And strong. And skilled at maneuvering the tool through the dirt.
There are so many failure modes with this thing. You can be careless at recognizing which plant is the plant you want to keep, and scythe right through friend and foe alike. It's an easy mistake to make if the crop is very young and hard to spot, like just-sprouted onions, shallots, or other alliums. It's also easy if the plant you're trying to keep (burdock) looks, at least from one's standing-up vantage point, remarkably like the weeds you're trying to knock back (lamb's quarter). Then you can be clumsy with the hoe itself and let it slip into the crop line while giving it a particularly vigorous tug--this happens more often than not because I've given it a particularly vigorous tug, possibly because I'm fighting with the tool instead of working with it or because I'm trying to go too deep and I'm meeting too much soil resistance. Or maybe it's because I've just hit a rock.
Or it could be because I'm getting tired and hot and thirsty, and suddenly a five-foot pole with a piece of steel on the end feels terribly heavy, and both my back and my thighs are killing me so there's really no ideal posture left for the job anymore.
Yes, yes. Whine, whine, whine. Actually, today was not so bad. It was murderously hot and sunny, but I was wearing my Full Armor of Sun Protection while hydrating faithfully. And I wasn't at it for more than an hour at a time--an hour before lunch and an hour after. Behold! In the remainder of my day there was knitting, and bicycling, and going out with new friends, and no napping at all! Pretty good considering I didn't sleep well last night and then got up at 6:30. So despite my whining, the physical labor did not in fact kill me for the afternoon.
But even with as many seasons under my belt as I've got, I still get very insecure. I mean, at any moment the hoe could slip and I could kill a significant sample of the crop population! And I know I severed at least one burdock seedling today. Realistically, one is a fairly acceptable margin of error, but it's always sobering when it happens.
Look out, here comes your writing metaphor for the week.
Similarly, despite long experience with writing and revising, I still get scared I'm going to kill the story I'm rewriting. I'll go into the editing process certain that the thing I think needs to go was in fact the story's saving grace, or that in the process of tightening things up I'll remove everything that made the prose live on the page. Even now, I find I don't wholly trust my ear for Story. I don't entirely credit myself with the ability to tell the manuscript's good from bad. If improving a piece requires the fiction-writing equivalent of a sense of pitch, on some level, I'm sure I'm actually tone deaf.
This is very timely, because revising a draft is what I'm going to be doing this week. And I know that even a very clumsy, ham-handed draft has the potential to be killed on the page.
I have to keep reminding myself, "You've been doing this for years. You've sold stories for publication! Give yourself credit for learning a thing or two. If nothing else, give the editors who bought your stories credit for knowing good stuff when they read it." Or even, "Well, regardless, you have to try, because the thing isn't publishable in its current form."
When I start feeling insecure about my ability to wield the hula hoe without causing collateral damage, I don't just put down the tool and run away. What do I do? I guess I slow down. I slow way down. I make shorter strokes and shallower ones, so that I'm more in control of where the sharp end of the tool goes. Sometimes, if I'm not sure I've spotted the crop among the weeds, I do put the tool down--but only for the time it takes me to kneel in the dirt and pull out some bindweed by hand.
There's a parallel for that in writing. Go slower. Take a closer look at particular aspects of the story. Make a bunch of smaller changes rather than one big sweeping one. If my confidence in my "sense of pitch" is low, I can remind myself that I am capable of recognizing a tune sung on key--I can go re-read a favorite book, noting as I do those elements that make it work so well. (Or go re-read a fun but flawed book, noting the blunders and missed opportunities.) When it's someone else's writing that I'm reading, I never lose faith in my ability to tell writing I like from writing I don't like. I can use the act of analyzing others' writing as a sort of jump-start.
At least my editing mistakes are more reversible than my farming ones. There is no CTRL-Z for a severed seedling.