Turning 55 in Iowa

I turned 55 while I was in Iowa earlier this month.  It was a good, low-key day spent with my family.  Grabbing an early rise and a cup of coffee, I staked out space near Mom’s flower garden to read.  At 6 a.m. the peacefulness was a deep hue, perhaps only deeper at dusk—for in the morning, the birds were chirping.  Mom came out and wished me happy birthday; I thanked her for all of her hard work 55 years ago. I think mothers should get more acclaim when celebrating days of birth.

Before the humidity blossomed for the day, Mom, Dad, Bill, and I wandered around Mom’s tree lilies finding the tallest, the prettiest, the most colorful—snapping photos of all.  Each paints a distinctive vista: the close-up of a lily versus Mom standing next to flowers in the foreground, seemingly held up by my family’s cornfield and the neighboring Amish farm in the background. 

In some shots we cheated the scene; the lack of rain at Mom and Dad’s has left many of the tree lilies bending over from dehydration.  We propped them up with our hands for the portraits.  With the farm’s water source being a well, more than once Mom commented on rather having water for the livestock than for her flower gardens.  She gives the baskets and planters a daily sip, but as for the her flower gardens, they are on their own.

Despite the drought, the field corn stood tall.  Like the prairie grasses before it, corn shoots its roots deep into the earth looking for water.   According to one Iowa State University study of corn roots, completed in 2016, when young plants in Northeastern Iowa had only four leaves, the roots were less than ten inches deep.  However, as the summer progressed and more leaves grew, the roots reached maximum depths of 60 inches—growing downward up to an inch a day.  The study also noted that once the roots hit the water table, they stopped growing.  These facts make fictionalized stories like Jack and the Beanstalk a bit more magical.  There’s much more to the story of a cornfield than watching the leaves, stalks, and tassels move in the wind and stretch up to the mid-day sun.

With the neighbor’s cornfield behind us, in the afternoon I set up a folding table in the yard under a maple tree, covered it with a split, black garbage bag, and hauled out the tie-dye kits from my “craft stash” in Mom and Dad’s basement.  Tie-dye events never disappoint: people stick together side-by-side at their work stations, Mom and Dad join as spectators, color and design pursuits are briefly discussed, then the squirting of dye begins.  We’re fabricating an end product in which we have no idea what it will look like as we dye material, sometimes deliberately and sometimes in an “oops-I-spilled” fashion.  We’ve done this often enough that we know when there is an “oops” we just have to roll with it. 

My 15-year-old Liam, proving to be the treasure trove of all Iowa trips, was the one who asked in May if we could tie-dye in Iowa in July, just like we had every summer that he could remember.  A few weeks later, my 10-year-old niece also asked to tie-dye.  As we set up the space, my son made one request, “Can we keep my shirt away from the brown dye, like what was on the socks we made for Grandpa two years ago?” 

Why did I use brown on Grandpa’s socks?  I vaguely remember the brown blob on Liam’s shirt that resulted from the unfortunate nestling of his freshly wetted shirt and Grandpa’s sock.  Happily acquiescing, I put a clean, double-layered piece of newspaper down before Liam started work on his XXL t-shirt.  After an hour’s work, we left the shirts under the tree to steep in bags until that night when, on a solo mission, I would rinse them all, take the bands off for the first glimpse at the designs, then wash and dry them.  I propose this task as a job that I’m taking on.  In reality, I’m selfish: I want to be the one to untangle these pieces of art for first viewing.

Earlier in the trip, I planted a notion with my family who lives near Mom and Dad, that on my birthday I wanted to go out for supper, for pork tenderloins.  After a brainstorming of possible restaurants known for these fritters, we landed at Costa’s in Fairbank, Iowa.  This dinner-plate sized tenderloin was one of the best I’ve ever had.  Mind you, I’m sure I say that about every tenderloin sandwich I have when in Iowa! 

This Iowa icon, the pork tenderloin sandwich, needs three pages in its own right to do it justice.  After I published Cornfields to Codfish, I started making a list of topics I could’ve/should’ve included, and pork tenderloin sandwich was at the top.  Yet even now, I can’t aptly explain the draw to this Iowa phenomenon; I feel I won’t do it justice if I try to write about it.  (Until the time is right to write mine, this is a great article and recipe for this Iowa sensation.  One note, the only condiments I ever have on this sandwich are ketchup and mustard, plus a big squirt of extra ketchup on the plate to dip into before each bite.)  Iowa restaurants serving tenderloins are compared based on the size of the sandwich, as well as the quality.  Dinner plate size like the one at Costa’s is wowing.  Sometimes the pork tenderloin is more coating than meat, but the one at Costa’s was thick meat with ample coating. 

I haven’t read the recipe directions in the link above.  Like some of the recipes in my book, there are a few dishes that I’ve purposely not tried at home, for knowing how to cook them would be hazardous to my cardio health.  Iowa pork tenderloins will remain in Iowa.  For the time being.

At sunset, as my birthday came to a close, Will came outside to where I was rinsing t-shirts with the garden hose.  I was doing this near one of Mom’s flower gardens so it would benefit from the day of tie-dying.   

“Mom, the rash is back.  I can’t stop itching!”  It had first appeared 24 hours earlier.

We were flying back to Massachusetts the next day, and we had already tried over-the-counter ointments which worked sporadically.  I examined the welts on his hands, arms, and legs; then I turned over the t-shirt duty to Mom; she had the honor of unwrapping the last two t-shirts.  We don’t know what Will was allergic to, perhaps two weeks’ exposure to dust from the gravel roads, fur from taming kittens, tall grass, lake water.  The doctor at the ER shrugged and ordered a steroid shot to calm the fury. 

From the hospital, we drove fifteen minutes back to the farm through a rural countryside dotted with the silent yellow beeps of lightning bugs.  They hung in the air above the deep ditches alongside the fields of corn. It was a real-life version of a 3D light-up birthday card.

Hollyhocks and the Ford Truck

The jet that carried us from Boston’s Logan Airport to Chicago’s O’Hare airport on June 30, 2021, was only slightly bigger than the three-person across jet that delivered us to Cedar Rapid’s Eastern Iowa airport.  Both were full.  At the gate in Chicago, the passengers looked familiar.  Their Iowa Hawkeye shirts and farm baseball caps pointed to the direction we were going: in one half-hour-or-less skipping flight, we’d all be in Iowa.  The jaunty flight wasn’t as bad as some I’ve taken, and once we crossed the Mississippi River, the green squares on the giant Iowa quilt took my mind off the lurching of the jet.  I grew up on a gravel road in northeast Iowa where potholes and washboard ribs were commonplace, so I tried to convince myself that these air bumps that rattled me were just the equivalent of a gravel road—and a necessary passage to maneuver.  And I worked to convince myself that after landing and getting to the farm, the anxiety of the journey would be obliterated from my memory.  Much like childbirth, so they say, or chemo.

As we danced closer to the airport, I noticed a block of land that wasn’t green with beans or corn but filled to the edges with roofs of houses.  This block of farmland, of rich black soil, would no longer grow acres of corn or beans which would feed people or animals.  Somehow its inherent value was lost in the movement from a farmer to a developer.  I doubt if this thought would’ve crossed my mind if it was within a suburban crawl, a development adjacent to another one or to a city.  But this square was surrounded by stalwart fields; it stood out like a blemish that would never heal now that it was infected.  The soil was no longer defined as such but rather as plots and yards with perhaps a fruitful garden here and there.  

Hovering a couple of miles from the runway, I thought about how I would or should respond to landing in Iowa.  I’m not one to kiss the ground after a long absence.  I felt no tears or intense emotion.  The word that settled over me was “familiar.”  Thank God, everything I could see was familiar.  Even the sight of that housed quilt block was surrounded by the green blocks—the green fields were familiar. 

Aside from one or two hugs with my Iowa niece that were tearful, most other experiences on the trip followed in the pattern of familiar.  The smell when I opened the car door and stepped out at Mom and Dad’s, as well as the smell when I went into the house: familiar.  I’ve never been so thankful for familiar.  I felt it as an emotion rather than an adjective.  It felt secure even when I knew change had taken place.

I walked behind the barn, and as I scooted around the perimeter buildings next to the cornfield, the cornstalks shot over my head, probably seven feet tall.  The rows curved in a new way to the left behind the hay shed, and I got caught up in the soft gentleness of that curve where a perpendicular angle had always been before.  It made me stop and turn to work out why this was different: the old chicken coop was gone that had sat out behind the hayshed since I was a kid.  And with it gone, there was room for probably eight more rows of corn to tuck in closer to the back of the hay shed.  I’ve taken many photos of the chicken coop over the years, and I knew it was in bad shape.  Its disappearance didn’t shock me; instead, the familiarity of cornstalks smoothed over the changed landscape.  And that new gentle curve was most impressive.

Throughout the two weeks we were in Iowa, the familiar was a balm to the changed.  There’s an old shed at my brother’s that will probably be taken down soon as it’s falling apart.  Like the chicken coop, it has clung to its supports for many years, but its time is getting short.  We were at my brother’s several evenings to see him and his family and to also pet kittens.  The kittens had been wild when we arrived, but with the kids’ (and Grandpa’s!) persistent, patient presence, they were tame when we left.  Each time we were there, I caught the sunset from the lane.  The barnyard buildings, gates, and fences filled the foreground.  I know that when this old shed is gone, there will be a gap in the scene, yet the familiar sunset will still hold tight. 

There’s an old Ford truck my dad and brother used to use on the farm years ago that now sits dormant, backed into a covered tin structure that’s attached to the corn crib.  Its usefulness has expired.  Dad told me no one wants that kind of vehicle anymore.  To him, it’s a bit of an eye sore in that it hasn’t been easy to get rid of.  To me, it’s a piece of art when Mom’s hollyhocks bloom at its corner.  For a few years, this scene grows in the summertime, and the juxtaposition between the front of the Ford and these resilient pink hollyhocks pulls me into whimsical delight.  On this trip, I ventured out at different times of day and from any angle I could find, I recorded the scene of these two living side by side.  If Dad eventually sells the truck, the hollyhocks will be that familiar touchstone that point to more of a small change than a loss.