Horizontal Grandeur

SBill Holm Photo Courtesy of the Star TribuneHorizontal Grandeur by Bill Holm


For years I carried on a not-so-jovial argument with several friends who are north-woods types. They carted me out into the forests of northern Wisconsin or Minnesota, expected me to exclaim enthusiastically on the splendid landscape. “Looks fine,” I’d say, “but there’s too damn many trees, and they’re all alike. If they’d cut down twenty miles or so on either side of the road, the flowers could grow, you could see the sky, and find out what the real scenery is like.” Invariably, this provoked groans of disbelief that anyone could be insensitive enough to prefer dry, harsh, treeless prairies. There, a man is the tallest thing for miles around; a few lonesome cottonwoods stand with leaves shivering by a muddy creek; sky is large and readable as a Bible for the blind. The old farmers say you can see weather coming at you, not like woods, where it sneaks up and takes you by surprise.


I was raised in Minnesota, true prairie country. When settlers arrived in the 1870’s they found waist-high grass studded with wild flowers; the only trees were wavy lines of cottonwoods and willows along the crooked Yellow Medicine Creek. Farmers emigrated here not for scenery, but for topsoil; 160 flat acres without trees or boulders to break plows and cramp fields was beautiful to them. They left Norway, with its picturesque but small, poor, steep farms; or Iceland, where the beautiful back-yard mountains frequently covered hay fields with lava and volcanic ash. Wives, described by Ole Rolvaag in Giants in the Earth, were not enamored with the beauty of black topsoil, and frequently went insane from loneliness, finding nowhere to hide on these blizzardy plains. But the beauty of this landscape existed in function, rather than form, not only for immigrant farmers, but for Indians who preceded them.

Blackfeet Indians live on the Rocky Mountains’ east edge in northern Montana – next to Glacier National Park. Plains were home for men and buffalo, the source of Blackfeet life; mountains were for feasting and dancing, sacred visions and ceremonies, but home only for spirits and outlaws. It puzzles tourists winding up hairpin turns, looking down three thousand feet into dense forests on the McDonald Valley floor, that Blackfeet never lived there. It did not puzzle the old farmer from Minnesota who, after living and farming on prairies most of his life, vacationed in the Rockies with his children after he retired. When they reached the big stone escarpment sticking up at the prairie’s edge, one of his sons asked him how he liked the view. “These are stone,” the old man said; “I have stones in the north eighty. These are bigger, and harder to plow around. Let’s go home.”

When my mother saw the Atlantic Ocean in Virginia, she commented that though saltier, noisier, and probably somewhat larger, it was no wetter or more picturesque than Dead Coon Lake or the Yellow Medicine River and surely a good deal more trouble to cross.

There are two eyes in the human head – the eye of mystery, and the eye of harsh truth – the hidden and the open – the woods eye and the prairie eye. The prairie eye looks for distance, clarity, and light; the woods eye for closeness, complexity, and darkness. The prairie eye looks for usefulness and plainness in art and architecture; the woods eye for the baroque and ornamental. Dark old brownstones on Summit Avenue were created by a woods eye; the square white farmhouse and red barn are prairie eye’s work. Sherwood Anderson wrote his stories with a prairie eye, plan and awkward, told in the voice of a man almost embarrassed to be telling them, but bullheadedly persistent to get at the meaning of the events; Faulkner, who endless complications of motive and language take the reader miles behind the simple facts of an event, sees the world with a woods eye. One eye is not superior to the other, but they are different. To some degree, like male and female, darkness and light, they exits in all human heads, but one or the other seems dominant. The Manicheans were not entirely wrong.

I have a prairie eye. Dense woods or mountain valleys make me nervous. After once visiting Burntside Lake north of Ely for a week, I felt a fierce longing to be out. Driving home in the middle of the night, I stopped the car south of Willmar, when woods finally fell away and plains opened up. It was a clear night, lit by a brilliant mood turning blowing grasses silver. I saw for miles – endless strings of yardlights, star fallen into the grovetops. Alone, I began singing at the top of my voice. I hope neither neighborhood cows, nor the Kandiyohi Country sheriff were disturbed by this unseemly behavior from a grown man. It was simply cataracts removed from the prairie eye with a joyful rush.

Keep two facts in mind if you do not have a prairie eye: magnitude and delicacy. The prairie is endless! After the South Dakota border, it goes west for over a thousand miles, flat, dry, empty, lit by brilliant sunsets and geometric beauty. Prairies, like mountains, stagger the imagination most not in detail, but size. As a mountain is high, a prairie is wide; horizontal grandeur, not vertical. People neglect prairies as scenery because they require time and patience to comprehend. You eye a mountain, even a range, at a glance. The ocean spits and foams at its edge. You see down into the Grand Canyon. But walking the whole prairie might require months. Even in a car at 60 miles an hour it takes three days or more. Like a long symphony by Bruckner or Mahler, prairie unfolds gradually, reveals itself a mile at a time, and only when you finish crossing it do you have any idea of what you’ve seen. Americans don’t like prairies as scenery or for national parks and preserves because they require patience and effort. We want instant gratification in scenic splendor as in most things, and simply will not look at them seriously. Prairies are to Rockies what Paradise Lost is to haiku. Milton is cumulative; so are prairies. Bored for days, you are suddenly struck by the magnitude of what has been working on you. It’s something like knowing a woman for years before realizing that you are in love with her after all.

If prairie size moves the imagination, delicacy moves the heart. West of Minnesota, the prairies quickly rise several hundred feet and form the Coteau. This land looks more like the high plains of Wyoming. Rougher and stonier than land to the east, many sections have never been plowed. Past Hendricks, along the south and west lake shores, things open up – treeless hills with grazing cattle, gullies with a few trees sliding off toward the lake. Ditches and hillsides are a jumble of flowers, grasses and thistles: purple, pink, white, yellow, blue. In deep woods, the eye misses these incredible delicate colors, washed in light and shadow by an oversized sky. In the monochromatic woods, light comes squiggling through onto a black green shadowy forest floor. My eye longs for a rose, even a sow thistle.

A woods man looks at twenty miles of prairie and see nothing but grass, but a prairie man looks at a square foot and sees a universe; ten or twenty flowers and grasses, heights, heads, colors, shades, configurations, bearded, rough, smooth, simple, elegant. When a cloud passes over the sun, colors shift, like a child’s kaleidoscope.

I stop by a roadside west of Hendricks, walk into the ditch, pick a prairie rose. This wild pink rose is far lovelier than hot-house roses wrapped in crinkly paper that teen-agers buy prom dates. The dusty car fills with its smell. I ignore it for a few minutes, go on talking. When I look again, it’s dry, as if pressed in an immigrant Bible for a hundred years. These prairie flowers die quickly when you take them out of their own ground. They too are immigrants who can’t transplant, and wither fast in their new world.

I didn’t always love prairies. On my father’s farm I dreamed of traveling, living by the sea and, most of all, close to mountains. As a boy, I lay head on a stone in the cow pasture east of the house, looking up at cloud rows in the west, imagining I saw all the way to the Rockies and that white tips on the clouds were snow on mountaintops or, better yet, white hair on sleeping blue elephant spines. Living in a flat landscape drove me to indulge in mountainous metaphor, then later discover that reality lived up to it. When I finally saw the Rockies years later, they looked like pasture clouds, phantasmagorias soldier than stone.

The most astonished travelers do not come from the Swiss Alp, or the California coast. Only William Carlos Williams, who lived in the industrial prairies of New Jersey, would notice the Mexico of Desert Music. A southwest poet with a wood’s eye would have seen sequaro cactus or medieval parapets. Trust a prairie eye to find beauty and understate it truthfully, no matter how violent the apparent exaggeration. Thoreau, though a woodsman, said it right: “I can never exaggerate enough.”


*”Horizontal Grandeur” by Bill Holm was published in The Music of Failure (Prairie Grass Press, 1990).
Copyright by Bill Holm.

Last Modified: 2/16/17 4:14 PM