First signs of forthcoming walnut season

Yesterday, I discovered the first visible signs at Gamone of the forthcoming walnut season.

 

This year, I intend to try out a totally new recipe: fresh walnuts preserved in sweet syrup. It appears to be a Greek Cypriot specialty. The product is marketed on the web.

Here are a couple of photos of the product that I found on the web:

 

These images suggest that the product—referred to as glyko karydaki in Greek—has much the same appearance and texture as my familiar pickled walnuts made with malt vinegar. I've found a clear and complete recipe [here] from a Cypriot lady, Ivy Liacopoulou. I've told her that I intend to use her recipe, and she has kindly provided me with further advice concerning the importance of thickening the syrup, which plays a vital role in the preservation of the product.

In Ivy's recipe, there's an intriguing "ingredient": quicklime. I've put the word "ingredient" in inverted commas because powdered calcium oxide is merely used at one stage in the lengthy preparations in order to keep the walnuts firm. But the toxicity of this dangerous substance will have long disappeared, of course, by the time the walnuts become edible.

Natacha and Alain were the first people to inform me of the existence of such walnuts, which they had discovered at the Greek-Armenian Edykos restaurant in Aix-en-Provence.

Fitzroy's hose running

I provided a brief presentation of this interesting new sport, invented by Fitzroy, in a blog post of 26 February 2011 [display]. My dog continues to practice this activity regularly and assiduously, in a style that has become exceptionally vigorous.

Indeed, when Fitzroy storms past me at breakneck speed, I try to locate myself outside of his racetrack, for fear of getting wounded by one end of the blue hose. Meanwhile, Fitzroy has developed a complex set of exercises designed to loosen himself up prior to each series of runs. The exercises start with an intense session of motionless meditation, during which the dog seems to absorb the vital energy flowing through the hose.

I would imagine, as an onlooker, that the ultimate aim of these exercises is to attain a relationship of symbiosis with the hose, in all kinds of positions.

Between the dog and the hose, the contacts are subtle, involving not only the teeth and jaws, but the paws too.

But these points of contact must be as soft and light as feathers, so that the dog can devote all his energy to running. It's a kind of zen operation, in which the dog and the hose are capable of moving autonomously but contiguously along a common space-time locus.

In other words, at no moment of his flight does the dog have the impression that he's actually holding the hose. The animal is simply moving in parallel with the object, and the object, reciprocally, is accompanying the animal. It's all very philosophical.

The runs themselves take place so rapidly that I find it almost impossible to take meaningful photos. In any case, an observer has to actually watch a series of runs to get the full impact of their force. Amazed by the power and speed of the animal as it hurtles across the lawn, a naive onlooker might imagine that the dog has simply found an explosive means of letting off steam and having fun. But such an onlooker fails to understand the profound sense of this activity, which is more an ethereal art than a sport. Admittedly, it's not easy to find the right words to describe hose running, which is impregnated with a highly spiritual dimension. It would be great if Fitzroy himself were to decide to produce a treatise on this subject, of which he is undoubtedly the creator. And probably the world champion.

Work at the southern end of my cellar

In my blog post of 11 April 2013 entitled Spring has sprung... at last [display], I mentioned my intention to construct, in my ancient stone cellar at Gamone, an old-fashioned wood-burning oven for baking bread and pizzas. This is likely to be a long and arduous project, since I first have to prepare the cellar for the installation of this massive object. In the present blog post, I shall describe the very first operation in this project, which I'm carrying out at the southern end of the cellar. This information is relatively technical, and is designed to be appreciated primarily by François, Emmanuelle and Christine, who have always remained interested by the evolution of the property at Gamone.

Let me start at the beginning. Here's a view of the southern façade of my house, taken in November 1993 (several months before I became the official owner of the property):

The scene reveals why, at that time, we took few photos from this viewpoint. A giant linden tree prevented an observer from obtaining a meaningful view of the southern façade of the house. But this photo indicates clearly the proportions of the roofed area behind the house (above the cellar), where a white van is parked. To reach this spot, the vehicle had to approach the house (on the opposite side of the photo), pass in front of the house (on the gravel down on the right-hand side) and then reverse up the grassy slope alongside the linden tree.

A long time ago, I asked René Uzel to remove that linden tree, along with the old apple tree that you can see on the left-hand edge of the photo. Since then, the southern façade of my house has been clearly visible, as you can see from this photo that I took this morning:

It's not easy to compare details in these two photos, 20 years apart, since it's hard to see anything at all in the first photo. It should nevertheless be apparent that a huge amount of earth has been removed from beneath the wheels of the vehicle in the old photo, enabling us to observe almost the entire southern wall of the cellar (which was completely buried in the old photo). You can even distinguish the upper half of an entrance into the cellar, shown here in an enlargement:

A decade ago, I had asked René Uzel to use his mini digger to remove the earth under which this southern entrance into the cellar had been buried, maybe for several centuries. As soon as the stone wall and the entrance became visible, I was in for a major surprise. Noticing the way in which fragments of hard earth remained attached to every rough stone in the façade, I suddenly realized that this was no doubt the first time ever, since its construction, that this wall had been brought out into the open daylight. I had always imagined that the entrance (which formed an alcove when seen from inside the cellar) had been blocked by earth, a long time ago, for unknown reasons. I now realized that, on the contrary, this entrance had never, at any point in time, been cleared of the earth that blocked it. In other words, this wall and entrance had been constructed from inside the future cellar, using the original earth as a formwork (coffrage in French). And nobody (up until my intervention) had ever got around to removing the formwork. Faced with this unexpected situation, I decided that a reinforced concrete retaining wall should be erected on the left, as soon as possible.

Here's a closeup photo of the entrance at the southern end of the cellar, taken a month ago from the top of the short earthen ramp that leads down from the level of the outside ground:

As soon as René had unearthed this new entrance into the cellar (and the house), I sealed it firmly by means of a pair of old wooden doors that I jammed in place. Now that this wood work has been removed, I can look out from inside the cellar towards the south.

Before thinking about having a door installed here, I needed to build a concrete threshold. So, I promptly tidied up the ground and laid down the formwork for the future threshold, as shown in the following photo:

Clearly, a previous owner seems to have used this alcove to support wooden shelves.

Here's a closeup view of the threshold formwork:

A fortnight ago, when I turned on my electric cement mixer with the intention of starting to lay concrete for the threshold, I was annoyed to find that the machine stopped turning after 20 seconds. I unscrewed the cover, and discovered that the cam belt had slid off the big cog on the drive shaft that makes the drum rotate.

Knowing nothing whatsoever about the mechanics of concrete mixers, I drove immediately to a big hardware company in Saint-Marcellin to seek guidance. Usually, as soon as I open my mouth in such a setting, full of professional tradesmen, the staff and onlookers realize that I'm a do-it-yourself tinkerer, and I sense their condescending regard. But everything changes in a positive sense when they hear you explaining that you've opened up your concrete mixer, discovered that the cam shaft has slipped of the big cog on the drive shaft, and that you need to fix it. Anybody who talks that kind of talk in a tradesmen's store must be taken seriously. So, I was thrilled to find a tradesman in overalls come over and tell me that, after having installed the new cam belt, I should rotate the drum manually for a few turns, to make sure that the new belt is in place. It was surely the first time in my life that French tradesmen seemed to be respecting me as a member of their fraternity. I felt elated, but I forced myself not to say much more, for fear of being revealed as a fake.

The next morning, I was able to examine closely the mechanism of the electric motor in my concrete mixer, and I discovered that the old cam belt was in perfect shape. The cause of the breakdown was a simple bolt that had escaped from the motor shaft, enabling the small cog to drop off. And, five minutes later, I was able to insert a new bolt, tighten it and get the machine running perfectly. Funnily enough, when I went back sheepishly to the hardware store in order to return the new cam belt and ask for a refund, I was received once again as a genuine "tradie" (as Aussies say). Not only had I taken apart the motor of my concrete mixer, but I had been able to detect an unexpected problem and repair it effortlessly. The fellow at the counter found it perfectly normal to refund the cam belt.

Finally, I used two bags of cement to lay enough concrete for the threshold, and the final result is perfectly acceptable.

The concrete slab might appear to be exceptionally thick. In fact, it needed to be a little higher than the level of the future elevated wooden planking that I intend to install (once I've finished the construction of the wood oven) throughout the entire cellar, which measures 6 meters long (from north to south) and 4 meters wide (from east to west).

The threshold slab is not solid concrete from top to bottom, since the level of the ground is located about halfway down the slab. As for the future staircase, it will reach the outside ground level at about the top of the wooden barrier, which holds a rock fill on the other side.

Yesterday, a carpenter from Pont-en-Royans dropped in to take measurements for a door at this place. Later on, I intend to build a concrete staircase from the threshold up to the level of the outside ground. It will be composed of exactly 9 steps, each of a so-called rise (height ) of 17 cm and a so-called run (depth) of 25 cm. See, I'm already starting to talk, once again, like a genuine tradesman. I must be careful not to get a swollen head, otherwise my tradesman's hard hat will no longer fit on my skull.

An eye for an eye

As a child in South Grafton, I was expected to admire a gushy poem penned by a young American Catholic fellow named Joyce Kilmer, killed in 1918 by a sniper's bullet on the Western Front in France.

I would imagine that countless English-speaking people of my generation can recite most of this poem by heart:

Trees

I think that I shall never see
A poem lovely as a tree.
A tree whose hungry mouth is pressed
Against the earth's sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in summer wear
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
Poems are made by fools like me,
But only God can make a tree.

The US musician Oscar Rasbach [1888-1975] wrote music for Kilmer's celebrated poem, and our local radio station 2GF in Grafton used to play constantly the version sung by the Austrian-Jewish tenor Richard Tauber [1891-1948]... whose Teutonic accent irritated me almost as much as the syrupy sentiments of the song.

The only aspect of Kilmer's poem with which I agreed was that it had been written by a sentimental fool. I was accustomed to wandering around on my father's bush property, which provided me with ample visions of trees. Not one of them, however, gave me the impression that it might be pressing its hungry mouth against the "sweet flowing breast" of the dry ground. If I observed lots of "leafy arms", they did in fact seem to be lifted most often in a plea for rain, but I never imagined for an instant that God might be playing a role in this meteorological affair. True enough, certain trees wore nests in their "hair", and the birds who had built them were generally either raucous crows, screeching parrots or savage magpies. There may have been robins in the bush, but I don't remember them. And the idea that snow might ever lay upon the "bosom" of one of our eucalyptus trees was frankly unthinkable. (I was 21 years old when I came in contact with snow for the first time in my life, in France.)

The final line of Kilmer's poem annoyed me most of all, with its silly idea that God might "make" trees. We all knew that Australian gum trees proliferated everywhere with no need for any kind of divine intervention. Indeed, the only domain in which my father would have surely appreciated a helping hand from God was ring-barking, designed to clear land so that our cattle would have sufficient grass to eat.

I realize retrospectively today that one of the advantages of growing up in rural Australia was that I soon developed a healthy respect for the power of Nature, which was often brutal, with no apparent concern for the welfare of us humans. The harsh Australian environment is not the sort of place in which a clear-thinking dweller would invent the quaint notion of a benevolent Creator. I've always considered that the Christian divinity is basically a humanistic Mediterranean concept: the intellectual reflection of a setting distinguished by harmony, where Nature is regulated by pleasant seasons. No authentic Australian (such as our Aborigines, above all) would have ever been inclined to invent the gentleman who delivered the Sermon on the Mount.

Once, as a boy, I asked my father why he never went to church (as had become my habit). I have never forgotten his marvelous reply: "Billy, you probably won't understand what I have to say. My cathedral is my bush paddock." In fact, not only did I end up understanding my father's metaphor, but I finally got around to adopting a similar attitude. At the age of 14, I came upon a little book on pantheism, in my grandparents' library, and I was so impressed by this primitive philosophy (which sees the natural world—in a similar spirit to that of our Aborigines—as a vast assembly of autonomous divinities) that I dared to reveal my enthusiasm explicitly to Dean Warr of Christ Church Cathedral... who was not exactly impressed by my revelation. Fortunately, my emerging fascination for mathematics and physics soon dissuaded me from delving more deeply into the archaic metaphysics of pantheism. Meanwhile, my encounter with the mildly sacrilegious book Life of Jesus by Ernest Renan took the wind out of my slack and flapping Christian sails forever.

These days, the terms "creationism" and "intelligent design" designate the variety of religious faith that exploits the splendors of the natural world as proof that a Supreme Designer must have been at work in the beginning. There again, it's difficult for an Australian to be a creationist, because almost everything in the Antipodes seems to have been designed differently (if at all) from what you find in the Mediterranean world. If God thought that jumping was a good mode of locomotion for our kangaroos, why didn't he design jumping creatures for the Northern Hemisphere? If he thought that waddling in an upright position would enable Antarctic penguins to move around easily on ice, why didn't he use the same principle for Arctic creatures? Either the Supreme Designer worked in an experimental fashion, and often got things wrong, or else there was a team of several senior designers who didn't necessarily adopt the same principles.

Adepts of creationism and intelligent design apparently find it difficult to believe that an organ as complex as the human eye could have emerged from Darwinian evolution. They raise doubts concerning the feasibility and evolutionary benefits of the intermediary stage that is often designated as "half an eye". In his Climbing Mount Improbable, Richard Dawkins devoted an entire 54-page chapter to the fascinating subject of the evolution of various kinds of eyes, which have emerged independently from scratch at least 40 times in the history of the animal world. In The Greatest Show on Earth, Dawkins returned to the question of eyes, and insisted upon the fact that our human eye provides a case study in "unintelligent design". In a recent issue of the UK's Daily Mail, there's an extraordinary collection of fine photos [access] of eyes of all kinds.

Let me conclude this rambling post by a lovely photo of a pair of astonishing eyes: those of a baby Madagascan lemur born recently in a French zoo.

Blogs are written by fools like me,
But only an adult lemur couple can make a baby lemur.

My words don't have the same poetic impact as those of Joyce Kilmer. What's more, they're not entirely true from a clinical viewpoint, since they neglect the theme of what we used to call "test-tube babies".

Toys for almost everybody

This simple graphic struck me as funny... but my sense of humor might well be atypical, if not frankly perverted:

I don't have a Facebook account, and I certainly don't want one, since I have no desire to get engulfed in so-called "social media" of that superficial kind. Consequently, I don't know the identity of the bright folk who gave us this graphic, retweeted by Richard Dawkins.

Koala in distress

Who's the arsehole who destroyed my tree?

Peony time at Gamone

All four peonies of the shrub type are in flower, whereas my five herbaceous specimens are waiting for some prolonged sunshine.

Pink Adzuma Nishiki and white Godaishu.

Red Higurashi.

Crimson Hana Daijin.

They appear to coexist well with the surrounding plants and a few weeds.

Dog contemplating the greenery

With all the recent rain, it's not surprising that Gamone is surrounded in greenery.

Often, Fitzroy remains motionless, pensive, apparently contemplating the surroundings, soaking in the greenery.

On the roadside up beyond the house, he turned his head around for the photo:

Otherwise, he's more interested in the greenery than in me.

I wonder if he recalls the scene, not so long ago, when all this was covered in snow.

Bodies as billboards

These days, people often paint themselves with their colors.

They use their bodies as a support for the transmission of messages. In this case: "We're supporters of England." An oldtimer such as myself sees this widespread habit as something new. Our generation never did this. We didn't have enough imagination, or maybe we were prudish about the idea of using our bodies for such purposes. The young women of my generation—in Australia and later in Paris—hardly even used facial makeup. The idea of using the human body as a support for imagery is nevertheless ancient.

Five years, a young Ukrainian women, Anna Hutsol, gave body painting a fascinating new twist and revolutionized the impact of corporal messages through her creation of the Femen movement.

Since then, throughout the world, Femen adepts use their bare-breasted torsos as billboards for political statements, generally in the domain of women's rights. Here's a portrait of co-founder Sacha Chevchtchenko, with the Femen logo painted on her breasts:

Femen's initial vocation was radical feminism, including the fight against prostitution. These days, frequent targets of Femen activists include Islamists and dignitaries of the Roman Catholic and Orthodox churches. Recently, a courageous Femen-inspired action was carried out by 19-year-old Amina in Tunisia, whose naked breasts carried the message: "My body belongs to me, and is not the source of anyone's honor."

Yesterday, the French branch of Femen complained in a tweet about the removal of the following provocative photo from their Facebook page:

Insofar as Femen bases its actions upon representations of semi-naked women, a thin line can separate some of their happenings from pure esthetics and spectacular eroticism. This is the case, I feel, concerning the above image.

Now we know how he did it

I think that one miracle in particular has become more famous than all the others, for the simple reason that almost everybody has tried to perform it, at one time or another... and nobody has ever succeeded unquestionably in repeating the accomplishment of Jesus. I'm referring, of course, to the marvelous story about Jesus walking on the surface of the waters of the Sea of Galilee.

It was now late and the boat was already well out on the water, while he was alone on the land. Somewhere between three and six in the morning, seeing them labouring at the oars against a head wind, he came towards them, walking on the lake. He was going to pass by them; but when they saw him walking on the lake, they thought it was a ghost and cried out; for they all saw him and were terrified. But at once he spoke to them: 'Take heart! It is I; do not be afraid.'
— Mark 6:47-50

According to Matthew 14:28, Peter decided spontaneously to have a go at this feat, and it seemed to work for a few seconds. But his faith collapsed almost instantly, and he started to sink into the water.

Recently, a small team of determined athletes, equipped with special water-repellent running shoes (of a brand that I'm not allowed to name here, because of my sporting sponsors), succeeded brilliantly in racing some 20 meters across the surface of a lake.

But these courageous fellows haven't yet deciphered the great Jesus secret that consists of having sufficient pure faith in God to believe totally that He will hold the walker's body above the surface at all times, making it possible to stroll peacefully and fearlessly across the water.

There was a gigantic breakthrough recently when marine archaeologists discovered a massive ancient stone structure under the surface of the Sea of Galilee. Click here to see this fascinating story. A diagram from Shmuel Marco makes it clear at last, after two millennia of mystification, exactly how Jesus was able to carry out his trick.

At that time, the depth of the Sea of Galilee was slightly less than it is today, which meant that the tip of this huge but hidden stone "iceberg" lay just below the surface. So, Jesus—who had no doubt practiced this feat tirelessly, to get it right for the day of his celebrated demonstration—simply paddled around on a small more-or-less flat zone at the tip of the structure, creating the illusion that he was walking on the water.

Archaeologists say that they can't explain who might have built this underwater mound. Nor why and when it was erected. I'm surprised by the archaeologists' lack of imagination. To my mind, it's clear that Jesus himself had collected funds enabling him to employ a team of stonemasons to build this structure, for the sole purpose of performing his spectacular miracle. In nearby Egypt, various pharaohs had found the means of erecting far greater masses of stone, the pyramids, in order to promote their theories of an afterlife. Since miracles play such a fundamental role in Christianity, I find it perfectly plausible, indeed normal, that Jesus might have gone to the trouble of building his own relatively small tumulus. Besides, since it was underwater, it didn't have to be as fancy as the Egyptian models, because the whole idea was that nobody should see it.

The only authentic miracle in this rather shabby tale is the fact that, as far as we know, no fishing boats ever ran aground on this big pile of rocks.

Quest for new worlds

It's never too early to start looking around for new worlds that might be colonized, one day, by our human descendants. Incidentally, it's becoming more and more likely that many of these descendants, in the not-too-far-distant future, will be quite different creatures to us, since their genomes will no doubt contain various synthetic genes inherited from top-class intelligent robots. There's no sound reason—other than old-fashioned nostalgia—for hanging around here longer than necessary on the charming planet Earth, with its depleted resources and damaged ecosystems. Adventurous human societies should be able to take advantage of their Earth-based history and experience in order to go about things in a better fashion at other spots in the universe.

We first have to find new worlds, and then our descendants will have to invent some way of reaching them. Theoretically, neither of these two challenges would appear to be insurmountable... though I don't have the least idea of what the solutions might look like. When our descendants get around to finding solutions to the above-mentioned challenges, they'll surely be amazed to think that we old-timers of the start of the 21st century were incapable of envisaging such answers.

Astronomers in search of new worlds evoke the celebrated children's story of Goldilocks and the three bears, by the English romantic poet Robert Southey [1774-1843].

The Goldilocks metaphor is a little like the Down Under joke at the end of one of my recent blog posts [display]. In the empty house of the three bears, in the middle of the woods, the little girl comes upon three bowls of porridge, apparently ready to be eaten. Feeling hungry, she tastes the porridge in Father Bear's big bowl, but it's too hot. Then she tries the porridge in Mother Bear's bowl, but it's too cold. Finally, in Baby Bear's little bowl, Goldilocks finds that the temperature of the porridge is "just right", so she gulps it all down. In the case of planets orbiting around a star, there is sometimes an orbital zone whose temperature, like that of the planet Earth, is apparently "just right" for human existence.

Last week, astronomers were thrilled to announce that NASA's Kepler spacecraft had discovered a pair of so-called exoplanets orbiting within the Goldilocks zone of a star that is henceforth named Kepler 62, located in the constellation Lyra, at a distance of 1,200 light-years from our solar system. Here's an artist's impression of a "sunrise" in the vicinity of one of these planets:

The chief of the Kepler project, William Borucki, claims that this pair of exoplanets is the most favorable site for life that has ever been detected by the Kepler spacecraft since its launch by NASA in March 2009. Click here to visit the Wikipedia page on this project.

Meanwhile, plans are already under way for NASA's next-generation spacecraft designed to look for new worlds. Called the Transiting Exoplanet Survey Satellite (TESS), and designed by teams at the Massachusetts Institute of Technology (MIT) headed by George Ricker, the new vessel will be launched in 2017. Here's an artist's impression of the TESS spacecraft:

The hundreds of small exoplanets discovered by Kepler have all been linked to stars whose great distance means that they're faint. TESS, on the other hand, will examine bright stars in a much larger area of the heavens. So, there's a good chance that this new spacecraft will be able to find new worlds for our descendants.

One might imagine a latter-day Columbus setting out towards obscure shorelines. The TESS adventure reminds me rather of future oak forests planted by conscientious landowners who know full well that neither they nor even their immediate offspring will ever sit in the shade of those great trees.

Adding spice to my existence

This looks like a quite ordinary fruit salad, composed of sliced apples, pears, oranges, strawberries and kiwifruit.

The photo doesn't reveal what's special about my fruit salad: the succulent spicy brown syrup in which the fruit fragments are bathing. So, let me explain how I came to develop (almost by chance) this delicious dessert.

My blog post of 26 July 2012 entitled Roast pork "Bangkok-en-Royans" [display] extolled the merits of a seasoning powder produced by a firm in the port of Samut Sakhon (Thailand), a few dozen kilometers south-west of Bangkok. This piece of pork shoulder, prepared this morning using this product, will be left to marinate until tomorrow, when I'll bake it slowly at a relatively low temperature.

A few days ago, when I dropped in at the small shop in Romans where I purchase Asian foodstuffs, I ended up chatting with the lady in charge about the principal ingredients in this powder: cinnamon and anise. I was particularly interested in the exotic fruit known as star anise (badiane in French).

The pharmaceutical industry had found that this everyday Chinese product (also grown in southern NSW) could be used to manufacture the Tamiflu anti-influenza drug. In the context of the swine flu outbreak in 2009, the price of star anise soared astronomically. Happily, since then, researchers have learned how to use bacteria instead of the Illicium verum flowers to produce the anti-influenza drug, and packets of star anise (either as dried flowers or ground into powder) are, once again, quite cheap.

I bought a big packet of ground star anise. At home, I started looking around on the Internet for interesting ways of using this fragrant product... and that's how I came upon the recipe for my fruit salad. Besides, the weather had become exceptionally warm, and the idea of eating fruit with a flavor of pastis liquor attracted me. First, I needed another ingredient: brown cane sugar.

The syrup is made by dissolving a large quantity of sugar in boiling water. (With a sense of guilt, I prefer to employ the fuzzy adjective "large", since we know already that even the smallest quantity of sugar used to make syrup is excessive from a health viewpoint.) To spice up the syrup, I mixed in a teaspoon of star anise, a teaspoon of cinnamon, a teaspoon of cloves, a few drops of vanilla essence and the zest of an orange and a lemon. After the syrup had been bubbling for a few minutes, I poured it onto my fragments of fruit, which tended to cook them slightly. When the mixture had cooled down, I covered the bowl in cellophane, and left the salad in the refrigerator overnight. This salad is delicious with vanilla ice cream.

Fitzroy in love

The warm weather has set in, and the grass at Gamone is green. Almost overnight, throughout the region, white blossoms have appeared on the cherry trees. My humble old tree on the corner mound (alongside Sophia's tomb) is doing its best to imitate the splendid young cherry orchards down in the valley, on the rich soil of the banks of the Bourne and the Isère.

It doesn't take much romantic imagination to consider that the warm weather, the green grass and the white cherry blossoms announce that the season of love is starting. That's how Fitzroy feels things. Over the last few evenings, he has been leaving Gamone regularly for short excursions to an unknown place. Yesterday afternoon, when I let him off the chain for a moment, while I was doing odd jobs outside, Fitzroy took advantage of a minute of inattention to disappear... and he hadn't returned to Gamone this morning. I went out in the Kangoo to search for him, in vain.

Martine, the postwoman (who knows everything that's happening in the neighborhood), informed me that she had sighted Fitzroy over on the other side of the Bourne, in Châtelus. I immediately dashed across there in the car. Members of the Huillier family told me that Fitzroy had often been hanging around their houses over the last few days. A young lady said in a whisper, as if it were a secret item of uncertain information: "I have the impression that your dog is in love with my mother-in-law's dog." As for Fitzroy, he was nowhere in sight. My friends told me that my dog's usual habit was to collect his beloved female from the farmhouse and take her for a promenade on the wooded slopes below the Cournouze. I left my phone number and asked them to let me know as soon as Fitzroy returned.

Within an hour, I got a call saying that Fitzroy and his lover had been sighted in the tall green grass beneath a single cherry tree located in the middle of their walnut orchard. When I arrived on the scene, it was truly idyllic. From the road, all you could see were the black tips of the ears of the two dogs protruding from the tall grass, surrounded by a thick canopy of magnificent cherry blossoms. When I called, Fitzroy recognized me instantly, and started to move towards me. But he faltered from time to time, looking back over his right shoulder at his loved one, who remained under the cherry tree. After a little coaxing, the two dogs moved towards the Kangoo, and I was able to attach Fitzroy to a lead. He was still in a state of tender attachment to his female friend, and the two dogs were constantly rubbing up against each other. Fitzroy finally jumped into his wooden pen at the rear of the Kangoo. As soon as I drove off, however, he realized that I intended to take him away from his romantic haven, and he started to express his indignation vocally. Back at Gamone, I was of course obliged to enchain my lovestruck friend... and provide him with sustenance.

I wasn't proud of my intervention. It's not nice to tear apart a burgeoning relationship. Love in the grass under a canopy of cherry blossoms is fine... but what I don't like is the idea of Fitzroy returning by means of the Rouillard Bridge over the Bourne, and the main road up to Gamone. Meanwhile, Fitzroy is catching up on lost sleep. By the time he wakes up, I hope he will have forgotten my unkind act. What he won't forget so easily, of course, is the aroma of his loved one, which surely continues to waft across here in a direct line, like powerful bursts of a laser beam.