An Artist in the Orchard

Usually I carry a spade, loppers, clippers, a weeding tool, a basket with rubber ties, and wire into the orchard. But like a plein air painter who leaves the studio and brings paints and brushes to the subject, I bring a notebook and pen, and sit in a patch of purple violets under a Golden Delicious apple tree.

Along with the violets, two varieties of clover are growing—mammoth red and white Dutch. I love clover under my apple trees—and daffodils and dandelions, mountain mint and comfrey, iron weed, valerian, St. John’s wort, bee balm, even stinging nettles. The more companion plants, the richer the soil.

Notebook page 5/16/20

Most people don’t realize that one apple bud opens to become a cluster of five or six flower buds. The king blossom is in the center; it’s the first to grow and the first to open. It’s surrounded by the harem waiting to take over if anything should happen to the king.

In a stellar pollination year, most of the secondary blossoms will be pollinated and the tree becomes a cloud of delicate wings. The downside is too many children. The apples will be small, with more disease and pest pressure, and less air circulation and sunlight, not beneficial for the crop. 

On this particular Golden Delicious tree, I see only a few blossoms. Golden Delicious have a propensity to be biennial—a riot of blossoms one year, and the next only a scattering. Orchardists can control this tendency by “thinning” the trees, removing a portion of the young fruit. As an organic grower, I don’t have an array of chemical thinners to choose from, but I can hand thin. On our youngest trees, we pluck off all the blossoms, discouraging such precocious behavior; these trees need to focus on growth, not reproduction! On the younger trees, we remove some of the fruitlets, leaving a few inches between apples. But on the mature trees, when the fruit set is crazy-good, our feeble efforts to thin hardly make a difference. One tree alone could occupy an afternoon, and we don't have a month to devote to thinning. I leave the Golden Delicious to do as they are inclined. Other trees, like the newer varieties of Liberty and Honey Crisp, are bred to discourage this trait.

The upside of this off-year is all energy goes into growing large and shiny leaves—optimal photosynthesis. A time of repose, a sabbatical to recharge. As I sit in its shade, I think about what the tree offers other than fruit. Maybe nutritive support to other trees and to the soil around its roots? Maybe sequestering more carbon? Maybe that strange notion, self-care?

This Golden Delicious tree is over 45 years old, and some orchard experts say it should be replaced because it’s old and leaning too far south. But I’m enthralled by its wayward slant, its zig-zag desire to find equipoise. In the photo below you can see the young branch I’m training to become a new central leader if necessary. 

Being both orchardist and artist is at times contradictory. Should I spray a particularly nasty, but approved organic material like lime sulfur to thin the Golden Delicious so they don’t fall into biennial production? After all, we have 28 mature Golden Delicious trees with no fruit, and that’s a lot of real estate in a small orchard. The truth is I appreciate the gnarly old trees and the young slender spindles, the trees with no apples and the trees loaded with fruit.

I finish taking notes and gather violets to put in a jar of olive oil for next fall when we will make salves and balms. A pair of cedar waxwings are courting in one of the Gala trees, and two orioles sing from high in a Summer Sweet. The woodchuck peeks out of a nearby hole, and upon seeing me, ducks back down. The geese hiss. On my walk back to the house, I snap off two fat purple asparagus no doubt planted by some robin scratching for worms near the trunk of a Cortland in the first row. Today I’m an artist in the orchard. Tomorrow I’ll return with other tools.

Apple Tree, Watercolor and Pencil, 2020, Linda Hoffman