ALSO FROM THE MODERN LIBRARY GARDENING SERIES Old Herbaceous by Reginald Arkell We Made a Garden by Margery Fish The Gardener’s Year by Karel Capek In the Land of the Blue Poppies by Frank Kingdon Ward Green Thoughts by Eleanor Perényi My Summer in a Garden by Charles Dudley Warner The Gardener’s Bed-Book by Richardson Wright C ONTENTS I M L G S by Michael Pollan NTRODUCTION TO THE ODERN IBRARY ARDENING ERIES I by Verlyn Klinkenborg NTRODUCTION P REFACE THE AMERICAN GARDENER      O S , S , F L G I. N THE ITUATION OIL ENCING, AND AYING-OUT OF ARDENS     O M M H -B G -H II. N THE AKING AND ANAGING OF OT EDS AND REEN OUSES   O P C G III. N ROPAGATION AND ULTIVATION IN ENERAL   V H IV. EGETABLES AND ERBS     F V. RUITS   F VI. LOWERS I M L NTRODUCTION TO THE ODERN IBRARY G S ARDENING ERIES Michael Pollan It took a woodchuck and a book to make me understand what’s really at stake in the garden. I’d come to gardening in the naïve belief it o�ered a fairly benign way to kill an afternoon, a refuge from the wider world, but even before the end of my �rst season I’d been forcibly relieved of my innocence. First came the rodent. A series of increasingly desperate measures to run a hungry woodchuck out of my vegetable patch escalated into a personal Vietnam (with me in the role of General Westmoreland, fully prepared to destroy the garden in order to save it), which promptly exploded the whole “garden-as-refuge” concept. The spectacle of my own rodenticidal rage suggested that more was involved in gardening than tending a few tomatoes and prettifying my yard. It put one into a relationship with nature that was anything but innocent. But it wasn’t until I cracked open Eleanor Perényi’s Green Thoughts, a tart, smart, and beautifully written set of alphabetical essays (from “Annuals” to “Woman’s Place”) published in 1981, that I realized how much was really going on here, right under my nose. Perényi had found in the garden everything from sexual politics and class struggle to culinary fashion and, particularly relevant to my woodchuck problem, ecological insight. The garden, in other words, was better approached as an arena than a refuge, an idea I immediately seized on and have yet to let go of. Though I suspect neither party would especially appreciate the tribute, I can trace the discovery of my own vocation as a writer to the crossing, in 1984 or thereabouts, of that particular book with that particular rodent. What Perényi had done was to introduce me to an unexpectedly rich, provocative, and frequently uproarious conversation that, metaphorically at least, takes place over the back fence that joins any two gardens in the world. Was there really such a thing as a green thumb? (Nonsense, said Perényi; why of course! countered Russell Page.) Was I within my rights to �rebomb a woodchuck burrow? (Don’t answer.) Must we concede the moral superiority of native species? And why is it magenta is so often maligned? (All too common, hu�s Alice Morse Earle, before Louise Beebe Wilder leaps to its defense.) From book to book, across oceans and centuries, the horticultural backing-and- forthing unfolds with such urgency you’d be forgiven for thinking the fence of space and time were merely picket. Right away I wanted in on the conversation, and, handed o� from one writer to the next, soon made the acquaintance of a crowd of �ne and �ercely opinionated talkers. There was Karel Capek, a gimlet-eyed Czech who relished the human comedy he found in the garden, and Margery Fish, a gentle Englishwoman whose cottage garden in Somerset told the story of a marriage. Closer to home, there was Katharine White in Maine, reading her January harvest of seed catalogues as a species of literature; Charles Dudley Warner in Hartford, setting himself up as the Mark Twain of American horticulture; and Alice Morse Earle in Massachusetts bringing an almost Jamesian regard to the social swirl of her perennial border. (The peony, Earle wrote, “always looks like a well-dressed, well-shod, well-gloved girl of birth, breeding, and of equal good taste and good health; a girl who can swim and hike and play golf….”) Most of these essayists were moonlighting in the garden, which usually meant they were �red with the enthusiasm of the amateur and the liberty of the writer cultivating a piece of ground some distance from literature’s main thoroughfares. Their voices could be by turns personal and prescriptive, di�dent and prickly, and, somehow, both self-deprecating and incontrovertible at the same time. Since these writers often came to the subject from elsewhere, they were particularly good at drawing unexpected lines of connection between what was going on in their gardens and the seemingly distant realms of politics, art, sex, class, even morality. I discovered that as soon as one got past the how-to volumes written by experts, and the illustrated co�ee-table tomes of garden porn, the garden bookshelf brimmed with the sort of quirky, sui generis writing often produced by a good mind operating in a small space. And so I read to garden, and gardened to read, counting myself lucky for having stumbled on a sideline with such a lively and lasting literature. For what other pastime has spawned so many �ne books? Only �y-�shing comes even close. (Numismatics? Woodworking? Macrame? Come on!) Which is probably no accident: for gardening, like angling, engages us with the natural world, as actors rather than passive spectators. Both put us smack on the frontier between nature and culture, which is always an interesting place for a writer to stand. And both literary traditions pose practical and philosophical questions about how we might better go about rhyming our desires with nature’s ways, questions that only grow more urgent with time. The books I’ve chosen for this series are the classics that form the backbone of this tradition. What you won’t �nd on this particular shelf are reference works and strictly how-to books; there’s plenty of how-to here, but the emphasis is more along the lines of how-to-think-about-it than how-to-do-it. Even the oldest among them will be contemporary in the best sense, o�ering a still-vibrant voice in the back-fence conversation gardeners have been conducting at least since the time of Pliny. I’m not sure whether or not we should be surprised by this, but a great many of the issues that engaged Pliny are the same ones that centuries later would engage Alexander Pope and Vita Sackville-West, Gertrude Jekyll and Eleanor Perényi, Charles Dudley Warner and Karel Capek, and will no doubt engage gardeners centuries hence. I’m thinking of the power of plants to change us in mind and body, the gratuitous beauty of a �ower, the moral lessons of the pest, the ancient language of landscape design, and the endlessly engrossing ways that cultivating a garden attaches a body to the earth. I NTRODUCTION Verlyn Klinkenborg On April 18, 1818, William Cobbett—a �fty-�ve-year-old Englishman living on a farm in North Hempstead, Long Island—wrote in his journal, “We have sprouts from the cabbage stems preserved under cover; the Swedish turnip is giving me greens from bulbs planted out in March; and I have some broccoli too, just coming on for use. How I have got this broccoli I must explain in my Gardener’s Guide; for write one I must. I can never leave this country without an attempt to make every farmer a gardener.” In this journal entry, Cobbett was, as always, making a point. He did write a Gardener’s Guide, which you are holding, called The American Gardener, �rst published in London in 1821. (A version of this book revised for an English audience and called The English Gardener was published in 1828.) If you look up “Dandelion,” you’ll �nd this apparently peripheral note: “In the spring (June) 1817, when I came to Long Island, and when nothing in the shape of greens was to be had for love or money, Dandelions were our resource; and I have always, since that time, looked at this weed with a more friendly eye.” Cobbett’s point is this: Once settled, he managed to have greens by April. The rest of Long Island could grow none by June. The secret? Hot-beds. This is Cobbett all over: two parts practical knowledge, two parts rural economy—and one part self-satisfaction, a pleasure it’s hard to begrudge him. A quick sketch of just who and what Cobbett was when he decided “to make every farmer a gardener” will allow you to enjoy his self-satisfaction too. Cobbett came to America in 1817 in what he called “self-banishment,” �eeing the wrath of an English government that had recently suspended habeas corpus in order to imprison its enemies more easily. Cobbett was arguably the most important of them. By 1817, he had been writing Cobbett’s Weekly Political Register, the only politically independent newspaper in England, for �fteen years, and he would continue to write it until a week before his death in 1835. That paper, published every Saturday, was the voice of political reform, and “among the great mass of people it became the most powerful journal in England,” according to Cobbett’s chief biographer, George Spater. Cobbett had lived in the New World before 1817: He’d come to New Brunswick in 1785 as a soldier. After his discharge and marriage in England, and a short stint in France, he returned with his wife, Nancy, to Philadelphia in 1792, “passing,” as he says, “eight years there, becoming bookseller and author, and taking a prominent part in all the important discussions of the interesting period from 1793 to 1799, during which there was, in that country, a continual struggle carried on between the English and the French parties.” Those vitriolic “discussions” were in ink. Cobbett’s American pseudonym was Peter Porcupine, and his vehicle was Porcupine’s Gazette—in nearly all respects but one, a precursor to Cobbett’s Weekly Political Register. That one respect was the side he took. Before 1800 and his return to England, Cobbett was an arch-conservative, a member of the English party in Philadelphia trying to bring about closer ties between America and its parent country, a relationship still in tatters after the American Revolution and made far worse by the havoc of the French Revolution and its consequences. But at home in England, Cobbett found a corrupt government, a failing monetary policy, a venal Parliament, and a collapsing agriculture. He made a volte-face of stunning proportions and passed it o� as consistency. He began to view the “weed” America, like the dandelion, with a more friendly eye. He began to clamor for reform of Parliament, to campaign against a national debt and a paper money that was bankrupting farmers and destroying the lives of farm laborers. And when he faced the near certainty of being imprisoned by the English government—it would have been his second political incarceration—he boarded ship with two of his sons and made America his refuge until the end of 1819. This is the person you must imagine as you begin to read The American Gardener, nearly as famous a man as there was at the time in England or America. He is already, as William Hazlitt said in 1821, “unquestionably the most powerful political writer of the present day,” and he is on the cusp of becoming, as Hazlitt also put it, “one of the best writers in the language.” For, in fact, the great period of Cobbett’s work is about to begin. If Cobbett ever lay fallow, it was in the grave. While he was in America, living on Long Island, Cobbett kept up his political barrage in the pages of the Political Register. On December 6, 1817, he began writing A Grammar of the English Language, in a Series of Letters, which was published in New York the following year. It is, as Hazlitt a�rms, “as entertaining as a story-book,” and it sold 100,000 copies by 1834 and remained in print at least until 1919, a fact that is all the more amazing when you remember that Cobbett began life as a plowboy. He wrote and published A Year’s Residence in the United States of America and began work on The American Gardener. Still ahead lay some of his greatest books, published in quick succession in the early 1820s: Cottage Economy; a French grammar that was no less successful than his English grammar; A History of the Protestant Reformation; and the �rst of the essays that became Rural Rides, a masterpiece of political and agricultural reporting. —— It may sound as though Cobbett had been dipped in printer’s ink at birth and baptized with political ichor. But he was the child of a farm laborer and grew up in Hampshire during a period of genuine agricultural prosperity. He had as many ideas as there were minutes in his day, which always began at four A.M. “He is like a young and lusty bridegroom,” Hazlitt wrote, “that divorces a favourite speculation every morning, and marries a new one every night. He is not wedded to his notions, not he. He has not one Mrs. Cobbett among all his opinions.” But there was a Mrs. Cobbett among his sentiments, and that was a love of the land, of farming, of gardening, and of the virtues of a prosperous rural life, no matter how poor in outward show. Practically the only time in his life when Cobbett did not have his hands in the soil was during the two years (1810–12) he spent imprisoned in Newgate, and even then he gardened by proxy, receiving daily reports and samples of home produce in baskets sent by his children and sending instructions in return. He established a nursery, shipping seeds and grafts to and from America. He started an experimental farm where he grew Swedish turnips, mangel-wurzel, and maize. (He also wrote a book called Corn: A Treatise on Cobbett’s Corn [1828].) By 1825, Cobbett is said by George Spater to have “planted a million forest trees and about 10,000 apple trees.” If he had been a prudent man, �nancially, he might also have been a rich one. Cobbett found that America in 1817 was “a country of farmers.” But it was also a country where the sheer abundance of land overwhelmed any desire to garden on a single spot. “When large parcels of land are undertaken to be cultivated,” Cobbett writes in the Preface to The American Gardener, “small ones are held in contempt; and, though a good garden supplies so large a part of what is consumed by a family, and keeps supplying it all the year round too, there are many farmers even in England, who grudge even a wheelbarrow full of manure that is bestowed on the garden.” Cobbett’s purpose in The American Gardener is nothing less than to teach the rudiments of gardening to American farmers and to inculcate in them the love of cottage gardens found among rural laborers in the England of Cobbett’s youth. As you read The American Gardener, do not let yourself picture Cobbett seated at a desk, pen in hand, during the light of the day. Imagine, instead, that it is early, early morning, and that he is dictating to one of his children before the sun comes up. After four hours of literary work, he turns to other business. He had taken over a long-abandoned house on Long Island, and he and his children restored the garden there. He raised pigs, oxen, chickens, sheep, ducks, and turkeys. And when that house burned down in the spring of 1819, he raised a tent, lined it with English newspapers, and camped out there for several months, dressed in “a shirt, a pair of nankin trowsers, yellow buckskin shoes & a broad-brimmed straw hat.”