Finding the Mother Tree by Suzanne Simard

I heard about Finding the Mother Tree: Discovering the Wisdom of the Forest by Dr. Suzanne Simard in April when folks from different parts of my life recommended it within a short time. I always take that as a sign I should read something, when I get multiple recommendations! I’d heard that Richard Powers based his tree scientist character in The Overstory on Simard and her work, and that intrigued me as well. Simard is a forest ecology professor at University of British Columbia, and she is a world renowned researcher, as described on her website:

“Suzanne is known for her work on how trees interact and communicate using below-ground fungal networks, which has led to the recognition that forests have hub trees, or Mother Trees, which are large, highly connected trees that play an important role in the flow of information and resources in a forest. Her current research investigates how these complex relationships contribute to forest resiliency, adaptability and recovery and has far-reaching implications for how to manage and heal forests from human impacts, including climate change.”

What I enjoyed about Finding the Mother Tree is that Simard doesn’t dumb down the science — there are what seem to me to be fairly detailed explanations of the discoveries she made and the experimental designs she devised to carry out that work. At the same time, she also tells stories, about her family’s history as small scale loggers, about growing up loving the forests and mountains of Western Canada and exploring them with her siblings, parents, and grandparents, about working in the forest service and realizing that what was happening — clear cuts and then monoculture plantings — was not beneficial either to the forest or to the timber industry, and about the coworkers and mentors who encouraged her to follow her instincts, learn to be a scientist, and conduct her research.

Many of the stories are about the disrespect and misogyny Simard experienced, as Powers depicts in his novel. Simard described these parts of her life without bitterness; if anything she’s a bit hard on herself for not speaking up more firmly. Considering the imbalance of power, it’s understandable, and her work speaks for itself. Despite people reviewing her already peer-reviewed work and sniping at her rather ungraciously because what she proposed was mind boggling and also a threat to the establishment, her research has not only held up but become more and more widely accepted. And she also writes about the many people, in the timber industry as well as in forest ecology and just the general public, who have thanked her and appreciated her work as well.

Simard really captures the excitement, as well as the hard work, of doing science. She also captures the challenges of trying to lead the life of a researcher and professor and still be the mother she wants to be to her daughters. She writes with great vulnerability about the pain of strained relationships and the struggle to manage the many aspects of her life, to be whole. And about what it was like to undergo treatment for cancer at the height of her career as well as at a formative time in her daughters’ lives.

Like many of the other books about ecology I’ve enjoyed (Ecology of a Cracker Childhood, Braiding Sweetgrass, The Hidden Life of Trees, to name a few), it’s SImard’s philosophy that really drew me in and that makes this book, in my view, a crucial addition to the popular science literature of our time. She writes:

“It is a philosophy of treating the world’s creatures, its gifts, as of equal importance to us. This begins by recognizing that trees and plants have agency . . . . By noting how trees, animals, and even fungi — any and all nonhuman species — have this agency, we can acknowledge that they deserve as much regard as we accord ourselves.”

Simard doesn’t say we shouldn’t farm, fish, or use wood products; she is calling for us to shift our mindset from one of seeing the world’s resources “as objects for exploitation” to seeing those resources in terms of “taking only what gifts we need, and giving back.” This more sustainable way of seeing nature, “Of showing humility toward and tolerance for all we are connected to” is similar to what Robin Wall Kimmerer writes about in Braiding Sweetgrass, and to what Ellen Davies suggests in her book Scripture, Culture, and Agriculture is at the root of both Hebrew scripture’s teachings about land stewardship and agrarian literature. Gratitude, humility, a willingness to share, and a sense of wonder and responsibility towards all of creation, are found in many cultures and traditions, and are key to caring for humankind as well. That Simard brings these sensibilities to forest science is a real gift to the world.

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The Overstory by Richard Powers

I haven’t looked at trees the same way since reading The Hidden Life of Trees. So when Richard Powers‘ latest novel, The Overstory, came out, I was immediately interested, because the reviews mentioned how Powers incorporates a lot of what’s in that book — trees have the ability to communicate, to adapt, to care for each other — in this novel. And he does, to amazing effect. 

Reviewers have also referred to The Overstory as “magisterial” and “operatic,” both of which may be code for “really long.” It takes just over 500 pages to tell decades of stories, about characters whose lives don’t even begin to intertwine until about a third of the way through.

But if you persevere you’ll begin to understand, perhaps in a muted and not very clear-eyed human way, how the characters are connected to each other and to the heart of the story — the overstory — of man’s inhumanity not only to man, but to the planet. The message is, there are some of us who see and understand that we’re on a self-destructing over-consuming mission, and some of us who don’t, but if we would just pay attention, trees, with their long memory, learned through thousands of years of interconnectedness and cooperation, could teach us to live. 

I’m still not exactly sure of all the characters’ roles — it may take me some time, and conversation with someone else who has read the book, to get how Ray and Dorothy connect with the others. And whether Patricia, the independent, earthy scientist whose work on tree communication is discredited and decades later, celebrated, is based on a real person. 

But a little uncertainty doesn’t detract from enjoying The Overstory. It’s a work of fiction that incorporates science and philosophy and economics, that digs into the way we and our world works and why, and what we can do about it. It’s a reflection on how much we don’t know, and how many of us live blindly, and might not even choose to know what we don’t know. Powers manages to work into his characters’ lives many of the seminal shifts in our lifetimes — communism, terrorism, globalization, environmental degradation, the computer age. And he works in the history of human threats to trees, which can be summarized as environmental mismanagement and cluelessness.

I love his writing, too. Take this description of Ray and Dorothy’s reading tastes: “Ray likes to glimpse the grand project of civilization ascending to its still-obscure destiny. . . . Dorothy needs wilder reclamations, stories free of ideas and steeped in local selves.” Or this description of two characters with a tenuous relationship: “Douggie steps from the car with that stupid, air-eating, sun-eating grin Mimi has come to enjoy,  the way you might enjoy the yips of a dog you’ve rescued from the pound.”  

In the end, I’d describe this as a literary psychodrama in parts. There is the central thread, about five people who come together as environmental activists and turn to eco-terrorism after being ignored by the public and challenged by corporations and the law. That leads to a cataclysmic event. On the periphery are the stories of the aforementioned tree intelligence scientist, the married couple who seem to me to represent the ability of people to grow and change, and a brilliant computer programmer who creates a smash hit game that he comes to see as reflective of all the worst human instincts.

The programmer and the tree scientist are the people whose legacies may turn the tide. But Powers doesn’t say their work will be enough. He leaves us with a clear understanding of only one thing: it’s not over. Nick, one of the environmental activists, is in an unnamed place using downed branches and snags to create an art installation that consists of a giant word — STILL — on a forest floor. He’s done, ready to move on, when he hears a whisper: “This. What we have been given. What we must earn. This will never end.”

 

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