By Zach Hively​

This poem has never been published in the formal sense. Never in a book, a journal, a magazine.
But it means something to me, something maybe that stems from the time I first wrote it, or the way I’ve seen people interact with it. And I do see people interact with it, more than any other poem of mine. Because, while it hasn’t been traditionally published, it’s a poem I’ve put into the world a few other ways.

It took me a while to realize that poetry could exist in ways outside of books and classrooms and poetry readings. This clicked, or started to, when a dear friend asked me for some work to hang in her art gallery.

Words in an art gallery?

This meant words had to become visual, somehow. Even tactile. This, I could wrap my head around, because already I prefer working with poems on actual paper—first handwritten, then typewritten. This forces me to consider the poem as an actual thing, not an easy-to-tweak concept on a screen. Edits happen on paper. So do new thoughts. Then, the poem gets typewritten again.

Inviting in more tactile elements from this place was pretty inevitable, really.

You can snag some poems like this at the Casa Urraca Press stop on the Abiquiú Studio Tour in October.

Maybe this is why the poem hasn’t (yet) appeared in a printed-and-bound book: the rocks, I have to think, would appreciate being presented with flowers and glass.
________________________________________
Here’s the Thing with Rocks
 
They become who they are
by wearing themselves away.
 
That is the only way for them
to uncover what they’re made of.
 
You can walk right by
the rocks that are greeting you.
 
But if you stop,
try to notice how
 
they are catching their breath
for a time.
 
Erosion is perilous work,
and they are right where they
 
are meant to be,
until they return to the business
of making sand.
________________________________________
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I’m not going to get into all the ways Australia and New Zealand are different from everywhere else in the world. And Tasmania is part of that too. I want to talk about a specific animal, the Tasmanian Tiger.   Read an article about it HERE. ​

While distinct from the Tasmanian Devil, in an important aspect that the Devil is still alive, the last Tasmanian Tiger dies in 1936, in a zoo. The last wild Tasmanian Tiger was shot and killed in 1930. I’d hate to be that guy, sort of like the 14yo kid that shot the last American Passenger Pigeon.
​
Like the woolly Mammoth, there are apparently efforts to bring back the Tasmanian Tiger using DNA and cloning. Did I mention that both the male and female of the species have pouches? The Tiger and Devil are relatives. The Tasmanian Devil still exists today and seems to have an appropriate name. It looks cute, kind of like a baby black bear, except for those teeth.

​As For Tasmanian Devils, read about them HERE.

The Tasmanian Devils are also a fascinating animal. While extinct on mainland Australia for millennia, they have been re-introduced to save the species from extinction. It seems that the Devils in Tasmania have been ravaged by a cancer that is transmitted through a bite. Yet another weird thing going on down there.

If you’re anything like me, you’ll find this strange and useless information interesting. If not, then you can ignore it and move on.

By Bryce Dix, KUNM News
 
It’s a beautiful day in the Jemez Mountains.

The early summer morning air is crisp – but not cold enough for a jacket – and dead silent. Above, a couple clouds lazily float across the deep blue sky.

As our group of 20 or so people clad in waders and hiking gear trudges along a rudimentary path deep in the woods, the ground quickly turns muddy. Soon the path widens, revealing a beautiful meadow lined with walls of tall ponderosa pine. A thin creek divides the land into two.
“We’re going to cross the creek and go over to the first set of holes which is, well, either here or there,” said Karen Menetrey from the environmental organization Rio Grande Return. It focuses on restoring damaged ecological systems across the state.

The goal today is to plant batches of willows for riparian wildlife – especially, the beaver.
The willow is usually seen as a “pest” species, but it plays a vital role in beaver survival, providing food and shelter in the winter. It’s also the construction material for the dams they create.

Volunteers place bundles of pre-cut stems into 3-foot-deep holes underneath the water table. They trim any leftover leaves and throw water into the hole.

Then, they use long sticks to tamp dirt into and around the hole – mainly to avoid any air bubbles.

​Menetrey said widespread trapping in the 1860s and 70s in New Mexico nearly decimated the beaver population. Historically, beavers in the U.S. were killed for their fashionable pelts and unique scent glands typically used in perfumes or food flavoring.

“And they are extirpated from some watersheds,” Menetrey said. “Which means they’re not extinct, but they are gone from that particular area.”

An estimated 6,000 to 12,000 beavers exist in New Mexico right now, but Menetrey said exact counts don’t exist. Currently, Defenders of Wildlife is working on a beaver “census” of sorts to identify dams using aerial photography.

Willow planting for beavers
All of this work to reintroduce the beaver back into New Mexico’s streams and rivers is part of a larger push to combat climate change here in the Southwest.

“They're really like climate resilience superheroes and super engineers,” said Chris Smith, the brain behind a newly launched venture dubbed the New Mexico Beaver Project.

Smith’s vision is to reestablish the widespread benefits beavers and their dams had on New Mexico’s landscapes before commercial trapping, like ecological watershed maintenance. Plus it’s free charge because, well, beavers aren’t motivated by dollar signs.

“We have all these vacant waterways, and they could be repopulated by beavers, but we currently don't have a relocation and restoration program,” Smith added.

New Mexico does allow the trapping of beavers, but only in certain areas at certain times of the year. Nowadays, tens of thousands of beavers are still snared, trapped, or shot across the country every year.

The Department of Game and Fish has tried its hand at some relocation and reintroduction efforts, namely at Bandelier National Monument.

In 2014, the New Mexico Senate passed a memorial requesting a beaver restoration plan from the Department of Game and Fish. They never got one.

The state does have some guidelines that make it fairly difficult for beaver relocation to happen – namely the five-mile upstream, five-mile downstream protocol, mandating all landowners within that radius give their explicit written consent for beavers to live there .

With a recent massive windfall of state revenue from the oil and gas industry, Smith wants some of that money to be set aside specifically for beavers to increase the state’s resilience to climate change.

“Beavers, I think, are one of the most cost effective ways to do that,” Smith said. “There's a budgetary reason to do it.”

In addition to helping with floods, beaver dams improve water quality, remove pollutants, and, surprisingly, help fight wildfires.

Emily Fairfax studies riparian beaver ecohydrology at the University of Minnesota’s Department of Geography, Environment, and Society.

“When beavers fight wildfires, that's actually sort of the last step of the number of disasters that they're helping us mitigate,” Fairfax said.

Fairfax says some people may see beavers as a “nuisance,” because they may chew on a property owner’s favorite tree, or accidentally flood a field or road.
But, she said the pros outweigh the cons.

The semi-aquatic rodents are really good at slowing down and storing water in the ground during storms and runoff seasons, she said. That allows water to be available to plants during droughts.

“Throughout the whole year, beavers are manipulating the hydrologic cycle in a way that builds up defense to a whole suite of natural disasters, and the wildfire really matters, because that's one that we struggle to manage ourselves,” Fairfax said.

These engineering marvels are pivotal to the survival of other species during a wildfire as well. Fairfax said beaver wetlands are too lush and wet to burn – providing a crucial fire break, slowing the blaze down.
​
“A single beaver family can engineer acres and acres and acres of these fireproof patches,” Fairfax said. “They are the safe place in the landscape, and we need more of it.”
Fairfax and Smith said the challenge is to overcome societal perceptions that beavers are merely obnoxious, toothy rodents and teach people that the beaver is much more valuable than a perfume ingredient or a fancy hat.

By Jessica Rath

​When Janice and Michael Quinn bought their property in Rio Chama near Medanales, they were quite intrigued by the strange and decidedly unique structure which was part of it: a small building without any straight lines. It looked like something that had grown out of the earth, with undulating curves, bulbous outcrops, round and colorful windows. It had been abandoned for a while and wasn’t in great shape; raccoons and other critters had moved in. Janice and Michael didn’t know much about who built it, but one thing was certain: it was something special that deserved to be restored.
 
The Quinns started on a Sherlock-Holmes-inspired journey.  Talking to neighbors and former residents, they managed to piece together the story of the original owner and builder of the Hobbit Hut, a man every bit as eccentric and colorful as the building: Franklin MacFie. An artist, musician, actor, performer, who single-handedly built the free-form house all by himself. Well, people helped him, neighbors and friends. But he designed and planned the dwelling all by himself, although he wasn’t an architect. 

​I figured this would make a fascinating story for the Abiquiú News, and the Quinns kindly agreed to give me a grand tour of the Hut. Michael had been hard at work for weeks and months (“forever”, Janice corrected), sealing the roof which had several water leaks and renovating each room, to make it habitable.
 
But first of all they shared some great news with me:  on June 14, 2024, the Cultural Properties Review Committee listed the Franklin MacFie House in the State Register of Cultural Properties and recommended that the nomination be forwarded to the Keeper of the National Register for listing in the National Register of Historic Properties. With the help of New Mexico’s State and National Register Coordinator Steven Moffson, Janice and Michael had filled out a lengthy application to have the Hobbit Hut formally recognized as a site of historic relevance. If you’re interested, here is the link to the nomination; it has a lot more information than I could fit into this article. 

​Why did they apply for this? I wanted to know.
 
“Frankly, it just seemed like a good idea”, Michael told me. “I don't even remember how I discovered that we could apply – just looking  around the internet, I guess. What do we hope to get out of it? We hope to get a plaque”, he laughs. “And then maybe some financial and professional help. Because we do everything ourselves. And we pay everything with  cash, so it takes a long time. I think my primary goal is to preserve the building, and make sure that it stays a stable, viable building into the future when we’re gone”.
 
One reason why the site is historically relevant may be the fact that it was built with a unique construction technique: Ferrocement. It’s a composite material which uses a skeletal framework of steel rods which is then covered by fine-meshed chicken wire and burlap, and lastly plastered with a layer of cement mortar. Although this is only between 1 3⁄4 and 2 1⁄2 inches thick, it’s an extremely strong shell: Michael claimed that one could drive a car on top of the roof, and it would not cave! Whether that’s indeed possible I have no idea, but a number of Franklin’s friends have been documented dancing happily on the roof.

I got a better insight into the way Ferrocement was used when Janice and Michael took me on a tour of the house. The most pressing part of the work to be done is fixing the leaks, Michael explained.

“This mesh makes Ferrocement work”, Janice added. “That's why it doesn’t have to be heavy concrete but can be thin. So this whole thing is made out of rebar, chicken wire, burlap, and Portland cement. It’s a wonderful way to build actually, and it's waterproof. They still have ships that the hull is built out of Ferrocement. There are huge stadiums in Europe which are built of Ferrocement. It's amazing, eco-friendly stuff”.

Ships? Built with cement? This sounded somewhat counterintuitive (and I have to admit that I’m rather clueless as far as engineering is concerned). But sure enough, there’s even a Wikipedia page about Concrete Ships, click on the link for some interesting images. And here you can find some other amazing buildings made of Ferrocement.
​
From the outside, it looked as if this would be some dark, cavelike abode. But once we stepped inside, I was surprised to see how light-filled and airy the house was! 

​From the entrance, the living areas undulated in every direction, sloping down naturally, following the hillside. There were no straight lines anywhere, and the few dividing walls all had arches and openings. The house looked alive, breathing, moving, changing. I was utterly enchanted. 

​Janice pointed to the ground: “All of this was dirt, which got muddy whenever it rained. Michael worked hard to install concrete floors; that was one of the first things he did”. 

Next, we looked at the kitchen, and Michael showed me everything that had been done so far, and his many future plans. “The electricity is here for a refrigerator; and there is a sink with a cabinet;  and cabinets over there are on the backside of a closet which will be in the bathroom. There will be chairs here and a breakfast table. So, we could rent it out for a couple of months in the Summer; I have plans to put in a mini split system for  heating   and air conditioning”.
​
“The bathroom  will have a shower right here, a toilet there, and the sink, and the washer and  dryer will be here, and a water heater”.

By this time, after walking through different rooms and getting a better sense for all the amazing details – there were so many windows, for example, and every one was unique and different, some round, some arched, some colored glass church windows – I wanted to learn more about the man who built this. Franklin MacFie. I asked Janice and Michael how they learned about him, and what they learned.

Janice told me: “We loved the Hut at first sight, and asked our neighbor Dean Jeffers who lives below the ditch to the south, what he knew about it. From him and another neighbor (Reynel Maestas, the one whose grandmother had owned all these properties), we heard lots of stories. Dean told us that Franklin had moved to Portugal to nurse his partner Jean Michel Belluc who died of AIDS. And that Franklin had died soon after that! That’s why Michael was so surprised to see a very much alive Franklin at our door in 2008!”

They had met him! How exciting! I wanted to hear all about it. Michael had quite a story to tell.
“We were sitting in the hot tub. And it was the time of year when the moon comes up and projects light out of all the windows and auto tail lights in the Hut. And we were thinking, ‘It's the spirit of Franklin’. The next morning I was home alone, and there was a knock at the door. And there's Franklin with one of his friends from Santa Fe, and the lady from Portugal”. Michael had told me  earlier that Franklin had built a round cement and adobe addition to a house in Portugal (he traveled all over the world),  and that he had wanted to show his friends from Portugal the house he had built much earlier in New Mexico. So this was that visit. “I opened the door and there's this guy and says  ‘Hi, I'm Franklin MacFie’. I couldn’t believe my eyes! ‘Franklin MacFie! The rumors of your demise have been greatly exaggerated!’ was all I could say.  He thought that was funny, and he explained that he was here with friends and he wanted to show them the hut. And if it was okay. I said, of course it's okay. Do you mind if I come along? And so we walked down there”.
​
“They weren't here for very long, I don't think they had much time. But that's when the picture of Franklin and me by the window was taken”.

“So that was my first connection with Franklin, before I knew anything about him. I didn't know he was sick at the time. I didn't know anything about him, except that he built that place. Which meant a lot to me. Many years later  Carol Bondy was here and we talked about the Hut and Franklin. She did some research and found the WordPress website. And that's when we started learning all about Franklin's eccentricities, his life and accomplishments”. He died shortly after this visit.
​
Please take a look at the site if you want to learn more about Franklin MacFie. It’s a memorial put together by some of his lifelong friends, celebrating the artist, film maker, world traveler, theater director (he organized the Espanola Valley Theater where he worked with teen drama students and played in “Bye, Bye Birdie” in Santa Fe in 1978),  an altogether gifted and brilliant man who lived in New York City, San Francisco, New Mexico, Morocco, Turkey, Portugal, and lots of other places. I guess it’s more a labor of love and less of an organized historical document, but somehow this is totally fitting for Franklin’s character. 

Janice told me another funny story, which she and Michael heard from Ray Stevens, a life-long friend of Franklin’s.

“Franklin and his partner Jean Michel, who was  French, wanted to make Camembert cheese. And they had a cow. Jean Michel called somebody up in Wisconsin who made cheeses and who also happened to be French.  The story goes that they just talked fluidly in French for like 30 minutes on the phone, and Jean Michel got the recipes. And so they started making Camembert cheese. Jean Michel would go to Santa Fe, with his rounds of Camembert cheese and in scantily cut off leather shorts and sell them to restaurants in Santa Fe”.

 “And Ray told us that sometimes the cheese wouldn't sell and they would bring it back and mix in some herbs and things, reformat and go back to town to try to sell it again, for even more money!”

Isn’t it strange to have such a strong connection with another person's life? To gradually learn more details about a unique, creative, and rather eccentric individual? Some people might think that the Franklin MacFie House is too weird and unconventional and not worth saving. I applaud the Quinns for recognizing Franklin’s vision and for putting so much effort into the preservation of the building. They see and understand its beauty. I hope they’ll get some funding so that they can finish this labor of love sooner, rather than later. If you have questions about the Hobbit Hut, or have personal stories to share, please email TheHobbitHut@lunadanza.com.
And thank you so much for showing me around, Janice and Michael – I’m glad I could learn something about Franklin and his original spirit.

Contemporary Mexican Photography Lecture
 Sunday, August 4, 5:00 – 6:00 p.m. ​

​The Abiquiú Inn proudly hosts a compelling lecture by Mexican photographer Cristina Kahlo. Cristina, the great-niece of Frida Kahlo, is one of Mexico’s most prominent contemporary photographers.  Cristina’s artistic career follows in the footsteps of her great-grandfather Guillermo Kahlo and father Antonio Kahlo, both celebrated photographers.
 
Cristina will guide us into various themes treated by Mexican photographers in recent decades, from the magical to the political, and from documentaries to the surreal.  She will also discuss her family lineage and special family memories in this lecture. 
 
Cristina employs multiple photographic printing techniques in her work, including platinum, cyanotype, heliogravure and color interventions.  Her subjects include the feminine universe, geometry, rituals, music, architecture, dance, and childhood disabilities. 
 
Cristina’s most recent work was photographing and cataloging the Frida Kahlo Museum collection for its 65th anniversary. Cristina also recently curated the groundbreaking exhibition “Kahlo: An Expanded Body” at the Parrish Art Museum (New York), focusing on Frida’s dramatic medical history and its profound impact on her art.  Her photography has been exhibited in numerous European galleries as well as throughout Latin America and the United States. 
 
Seating for this event is limited, so plan to arrive early.  For more information, contact: Carlos Rovelo at 214-505-6549.