The Glens Trail, Gorge Metro Park

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On May 13, 2017, between my mother’s birthday and Mother’s Day, the husband and I ventured out on a trail in our area to hike and explore for the first time—and what a discovery!

We could almost claim the Glens Trail of Gorge Metro Park for ourselves on that beautiful spring Saturday. Although the parking lot was packed, few locals seem to realize how the Glens’ beauty matches or exceeds that of the Gorge Trail.

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How could we be ignorant of this treasure so nearby?

The park resides in the city limits of Cuyahoga Falls, our former hometown of seven years and the place where both my parents grew up. Aunts, uncles, and their siblings, my folks, came to know the area well during the 50s and 60s.

Back then, I daresay, the natural beauty of the Gorge was taken for granted. To our predecessors, it was just another close place of recreation in which to pass idle childhood moments. They had no idea how unique this playground was.

Its danger, however, became all too familiar to one family member, who shall remain anonymous. Playing hooky from school one day with a friend, this relative fell nearly 100 feet down into the Gorge. We think it was somewhere along this section of the Cuyahoga River bank, if not on what is now the Glens Trail itself.

The friend thought our family member was dead, but luck, providence, or fate would have it that the landing was mercifully soft, though not far from a treacherous boulder. No major head trauma, no broken bones. A bona fide miracle. Next time, there would be no skipping school at the Gorge—only in much safer places.

Nothing so dramatic but the view accompanied our virgin visit to the trail. Although the going wasn’t easy, we know from experience it was easier than if we had taken the Gorge Trail, which is much more vertical, narrower, and rougher. The Glens Trail is almost 2 miles long, out and back; the return is on the same path.

Looking at the park map before arriving, I had expected a lower elevation, riverbed sort of trail. I think we were both pleasantly surprised by the scenic geology and dense greenery.

The Glens Trail runs parallel to the Cuyahoga River, but the trees made river views rare. With daylight waning, most water we could see was either frothed with white foam, trickling from a pipe atop the opposite bank, or more brown than blue from steady current through a shallow river, with its silty sedimentary bed and some urban contamination.

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Investigating the sediment content online led me to learn more about the geologic history of the area. The main features combine shale, sandstone, and conglomerate rock layers.

Most of northeast Ohio is built on Bedford Shale (most easily eroded) overlain by Berea Sandstone (evident at Glens Trail).

The Sharon Conglomerate came later and is the most erosion resistant of the three layers. The best examples of this occur in parks and trails with the word Ledges in their names.

But I also found this note: The most accessible location to view Mississippian and Pennsylvanian rocks, including the Sharon Conglomerate, is in Gorge Park, part of the Metro Parks, Serving Summit County system.” Source: “Bedrock Beneath” at Green City Blue Lake, The Cleveland Museum of Natural History

With glaciation, erosion, damming, pollution, restoration, and now talk of removing certain dams, the Cuyahoga Valley has undergone many changes over the millennia.

The map: Cuyahoga River

The height and sheer faces of the cliffs are breathtaking, an unexpected feature of the trek that made us slow down and look around more than we might have otherwise.

An orphaned slab made way for a partial cave roof that appears to have been used, perhaps centuries ago, for shelter. A soot stain on the “ceiling” suggests repeated fires.

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Birds were plentiful for an afternoon, due to the secluded, protected nature of the trail. We spotted catbird, sparrows, red-winged blackbirds, robins, cardinals, and Canada goose, among others, along with a kind of swallow I’m still not sure of.

I think I’ve narrowed it down to either a bank swallow or a tree swallow. By name, a cliff or cave swallow would make more sense, as it was perched on rock outside a nest in the cliff crevice, but colorings and territory ruled those out. Bank swallows usually nest in colonies in sandy hillside holes, whereas tree swallows nest singly in trees or cavities.

It may have been a juvenile or female tree swallow orIMG_1684_swallow a bank swallow taking its home where it could. As you can probably see, the picture is blurry, so the starker lines between the tree swallow’s blue-green head cap, back, and wings versus white throat, belly, and under tail may have been smudged more softly together. Really, I was lucky to capture its image at all.

“Angry” bird: Robin flings debris in search of food or nesting material.

There were a few narrow parts where ducking was in order and some uneven ground to manage, including hills, but the views, especially of the rocks on our left going out, were well worth the effort. The drop-off is steep, but it’s steeper on the other side of the river.

From the parking lot up the hill at 1160 Front Street, Cuyahoga Falls, visitors have central access to three major trails at Gorge Metro Park, Summit County, Ohio: Glens, Gorge, and Highbridge.

Next time, we’ll try out the Highbridge Trail. Another moderate path, but almost twice as long as the Glens, it should be manageable with sufficient time. Directly opposite the Gorge Trail along the river, Highbridge goes roughly west. Glens goes roughly east.

Although the Gorge is the rock star of the park, the Glens Trail, wandering away alone, also deserves a second look.


Happy trails to you this summer, wherever you find yourself.

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Book Review: A Streetcar Named Desire

A Streetcar Named Desire by Tennessee Williams

Although this one wasn’t for my classics book club, I have wanted to read it for years. As a play, it’s a relatively quick read, so I was able to tuck it in among other readings.

Spoilers possible.

A Streetcar Named Desire may be a better, more entertaining play than The Glass Menagerie, but together they suggest a pattern of playwright fixation on the destruction of fragile, helpless women at the hands of hapless or hostile men. Yet, although critics claim that Stanley is the catalyst for Blanche’ s tragedy, I see undeniable, culpable shades in the sorrows of sister Stella and would-be husband Mitch. Besides these influences, a case can be made that Blanche needs little nudging by anyone to plunge her into her ultimate abyss, a place she seems headed for from the start. Either way, the question is posed clearly before the tragedy is complete: Who is to blame?

The tragic arc is a twisted tree root. Plunging through the rich soil of clever, careful staging, eerie overlays of music and echoed sounds, and crisp, character-making dialogue, the reader (not just the playgoer) falls irrevocably into the suffocating depths of a taut, primal, sensual plot. With his usually detailed stage directions, Williams also leaves nothing in the production plan to chance, while his storytelling strikes a delicate balance by revealing just enough both to engage and to mystify his audience.

The emotional effects of these elements for Blanche are a haunting by the past that cannot be shaken and a shackling by her imagination that stunts her growth. Her character is static in the course of the play as the distance between the danger and the fall proves all too short. Stanley, likewise, is static, and so they come together like immovable object and unstoppable force. The intriguing question for me is what change must occur in Stella beyond the play’s ending as a result of this close family tragedy, with one member the victim and the other, the perpetrator. Stella, at least, has dynamic potential as collateral damage.

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Penguin Modern Classics edition book cover

Still, none of the main characters reads as a monotone stereotype; they themselves get to play with those concepts as they size each other up. The tension permeating the play stems from perceptions of class differences, ethnic backgrounds, sexual attraction, and affectations brought into sharp relief by the visit of Blanche DuBois to her sister and brother-in-law’s small apartment during a typically oppressive New Orleans summer.

The result is a smoldering tragedy without a clear path as to how it might have been avoided. Remarkable paradox comes through Williams’ writing: Stella, Stanley, and Blanche all prove to be decent people even as their inflexible selfishness, by turns, renders them on many levels indecent–and ultimately inhumane–to one another.

Raw, obvious character flaws, especially Stanley’s, do contribute to the mess, however. His inherent roughness of manner, speech, action, and mere presence directly feed and elicit Blanche’s carefully constructed delicacies, charms, snobbery, and veneer of the victim. They could hardly be more different, and as foils, these opposites both attract and repulse.

Like the down-to-earth Stanley, the reader knows upon meeting her not to take Blanche at face value, but as we get to know her, we begin to empathize with, if not believe in, Blanche DuBois. When Stanley finally exposes her past sins, the whole truth of them is doubtful, they are inextricable from her suffering, and we see that both Stanley and Stella can be right about her sister in their opposing views.

Blanche is a menace being treated unfairly.

An emotional atmosphere of steamy New Orleans chaos reigns over the play. Ripples of racist overtones, sexism, raw sensuality, crime, vice, and class prejudice collide and reinforce one another to disrupt the characters’ moral compasses. Danger vibrates constantly just beneath the surface, and I kept expecting brawl, beating, or suicide around the next corner. Peripheral scenes foreshadow ultimate conflict as violence escalates, but it’s all very restrained, held in check for the bulk of the story, which makes each scene all the more intriguing.

The shock of the penultimate act of violence, committed between active scenes, can resolve into either the satisfaction of poetic justice or an indignation against grave injustice, a verdict that rings loudly through the end. The ensuing resolution is also unequivocally sad, and we even get a moral from the perfect, trembling lips of Blanche DuBois. Coming from her, the line “I’ve always depended on the kindness of strangers” is both ironic caution and sad testament to a frail psyche.

This is one of the few plays I’ve read besides Shakespeare that so strongly compels me to seek out a production to watch this very minute. In A Streetcar Named Desire, Tennessee Williams exposes seedy corners of mid-twentieth-century American society and equally dark corners of its minds and hearts. First, he is the realistic, impartial painter of human coarseness, failure, beauty and love. Then, in affecting lyrical form, he hints at judgment of all these through their close, unflinching examination. In his complex process, Williams has crafted a true literary and theatrical treasure.

Five out of five stars.


Learn about the 1951 film version at A Streetcar Named Desire.

Backyard Brief: Little White King

The other day, my husband spotted another striking, first-time visitor to our house, a male white-crowned sparrow. One day in rain, the next in sunshine, he stuck to the grass to forage for fallen seed.

According to my slightly outdated North American birds guide, we’re in His Majesty’s winter range. Perhaps he has been dethroned and is migrating northward to a new seat of power. I wonder if he is related to the White King in my Alice novel. Look closely: This fancy little monarch even wears white eyeliner on his lower lids.

He must be French, or maybe Quebecois.