
A sequoia forest in Detroit? Plantings to improve air quality and mark Earth Day
Arborists are turning vacant land on Detroit's eastside into a small urban forest, not of elms, oaks and red maples indigenous to the city but giant sequoias, the world's largest trees that can live for thousands of years.
The project on four lots will not only replace long-standing blight with majestic trees, but could also improve air quality and help preserve the trees that are native to California's Sierra Nevada, where they are threatened by ever-hotter wildfires.
Detroit is the pilot city for the Giant Sequoia Filter Forest. The nonprofit Archangel Ancient Tree Archive is donating dozens of sequoia saplings that will be planted by staff and volunteers from Arboretum Detroit, another nonprofit, to mark Earth Day on April 22.
Co-founder David Milarch says Archangel also plans to plant sequoias in Los Angeles, Oakland, California, and London.
What are giant sequoias?
The massive conifers can grow to more than 300 feet (90 meters) tall with a more than 30-foot (9-meter) circumference at the base. They can live for more than 3,000 years.
'Here's a tree that is bigger than your house when it's mature, taller than your buildings, and lives longer than you can comprehend,' said Andrew 'Birch' Kemp, Arboretum Detroit's executive director.
The sequoias will eventually provide a full canopy that protects everything beneath, he said.
'It may be sad to call these .5- and 1-acre treescapes forests,' Kemp said. 'We are expanding on this and shading our neighborhood in the only way possible, planting lots of trees.'
Giant sequoias are resilient against disease and insects, and are usually well-adapted to fire. Thick bark protects their trunks and their canopies tend to be too high for flames to reach. But climate change is making the big trees more vulnerable to wildfires out West, Kemp said.
'The fires are getting so hot that its even threatening them,' he said.
Descendants of Stagg and Waterfall
Archangel, based in Copemish, Michigan, preserves the genetics of old-growth trees for research and reforestation.
The sequoia saplings destined for Detroit are clones of two giants known as Stagg — the world's fifth-largest tree — and Waterfall, of the Alder Creek grove, about 150 miles (240 kilometers) north of Los Angeles.
In 2010, Archangel began gathering cones and climbers scaled high into the trees to gather new-growth clippings from which they were able to develop and grow saplings.
A decade later, a wildfire burned through the grove. Waterfall was destroyed but Stagg survived. They will both live on in the Motor City.
Why Detroit?
Sequoias need space, and metropolitan Detroit has plenty of it.
In the 1950s, 1.8 million people called Detroit home, but the city's population has since shrunk to about one-third of that number. Tens of thousands of homes were left empty and neglected.
While the city has demolished at least 24,000 vacant structures since it emerged from bankruptcy in 2014, thousands of empty lots remain. Kemp estimates that only about 10-15% of the original houses remain in the neighborhood where the sequoias will grow.
'There's not another urban area I know of that has the kind of potential that we do to reforest," he said. 'We could all live in shady, fresh air beauty. It's like no reason we can't be the greenest city in the world.'
Within the last decade, 11 sequoias were planted on vacant lots owned by Arboretum Detroit and nine others were planted on private properties around the neighborhood. Each now reaches 12 to 15 feet (3.6 to 4.5 meters) tall. Arboretum Detroit has another 200 in its nursery. Kemp believes the trees will thrive in Detroit.
'They're safer here ... we don't have wildfires like (California). The soil stays pretty moist, even in the summer,' he said. 'They like to have that winter irrigation, so when the snow melts they can get a good drink.'
How will the sequoias impact Detroit?
Caring for the sequoias will fall to future generations, so Milarch has instigated what he calls 'tree school' to teach Detroit's youth how and why to look after the new trees.
'We empower our kids to teach them how to do this and give them the materials and the way to do this themselves,' Milarch said. 'They take ownership. They grow them in the classrooms and plant them around the schools. They know we're in environmental trouble.'
Some of them may never have even walked in a forest, Kemp said.
'How can we expect children who have never seen a forest to care about deforestation on the other side of the world?" Kemp said. "It is our responsibility to offer them their birthright.'
City residents are exposed to extreme air pollution and have high rates of asthma. The Detroit sequoias will grow near a heavily industrial area, a former incinerator and two interstates, he said.
Kemp's nonprofit has already planted about 650 trees — comprising around 80 species — in some 40 lots in the area. But he believes the sequoias will have the greatest impact.
'Because these trees grow so fast, so large and they're evergreen they'll do amazing work filtering the air here,' Kemp said. 'We live in pretty much a pollution hot spot. We're trying to combat that. We're trying to breathe clean air. We're trying to create shade. We're trying to soak up the stormwater, and I think sequoias — among all the trees we plant — may be the strongest, best candidates for that.'
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Scotsman
2 days ago
- Scotsman
Book reviews: Sanctuary by Marina Warner
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... It is a melancholy sign of the times that the meanings of the subjects of these books – sanctuary and retreat – have become so commodified, solipsistic, similar and etiolated. That they even seem synonymous is a measure of our collective mental laziness. Sanctaury is sought, retreat is chosen; and neither involve bergamot balm nor Seishin Sekai stones. Both require bravery and abnegation, not luxury and indulgence. Caveat lector: although the same price, one is deep and one is hasty. Illustration showing Judah seeking sanctuary at the altar, taken from the Philologus Hebraeo-Mixtus by Johann Leusden, professor of Hebrew, Utrecht, 1657 | Getty Images Stagg's book could have been a decent three-part radio feature, but the work is spread thin. The plurals of the subtitle are misleading: it features a philosopher (Ludwig Wittgenstein), a poet (David Jones) and a theologian (Simone Weil), though the labels are fairly arbitrary – they are also labelled as saint, hermit and martyr; and all could reasonably be termed mystics. The areas of commonality – such as 'all three struggled with doubt' or 'all three of them could be naïve, self-righteous and earnest to the point of insufferable' – are so broad as to carry little insight. Advertisement Hide Ad Advertisement Hide Ad It would be difficult to write about these three without including interesting, provocative and deep matters. But I yearned for more of the subject and less of the writer. It is like standing in front of a picture with someone blocking your view and telling you their opinions. There is little real engagement with Jones's poetry ('The Anathemata' warrants a solitary quote); nothing about Weil's significant reading of The Iliad, or even Wittgenstein's final yearning for a philosophy that made philosophy disappear. But there is rather too much room for what commissioners call 'the journey'. Stagg forgets to bring swimwear to Austria. He sees a weathered sign for a chocolate factory on Caldey Island, and the alliteration of 'the slop of soup and the slap of spoons and the gulp of swallowed mouthfuls' conveys a kind of disgust at the monastic refectory. In France he meets someone else called Guy. And your point being?, as an old tutor used to say. More worrying, although the text is footnoted, there was one point – a rather gruesome description of Charles II of Spain – that was not referenced, but is almost word for word identical with a passage on the Wikipedia page (itself citing a book in Spanish, but no page number). Such moments undermine trust, and make even the 'revelations' – 'I understood now that withdrawing was no guarantee of happiness' – suspect. (And who on earth told you it was anyway?) There are no such qualms with the new book from Marina Warner, who is every bit as ingenious and meticulous as she was in 1976's Alone of All Her Sex, which by coincidence was my bedtime reading last month. If some of the chapters here are a bit of a stretch to the theme – in particular, the section on Puccini's Turandot – well, it is fascinating nevertheless. Other than Turandot, the major part of the book studies historical seekers of asylum: the Holy Family fleeing from Herod, Empress Helena's 'discovery' of the True Cross and how its splinters then sanctified refuges, the Virgin Mary's 'home' of Loreto, transported, rebuilt, cloned, shrouded and recreated, and the ironies of Dido and Aeneas, two city-founding refugees whose tragic love underwrites – justifies? – epic conflict. Advertisement Hide Ad Advertisement Hide Ad This is followed by a section on Warner's work with the 'Stories in Transit' initiative. It might seem modest, but given how shrill and vituperative the voices ranged against displaced people are it seems all the more necessary. 'Ownership of one's story' can seem trite, but in the context of having lost almost everything else, it is fundamental; not just for those fleeing but for those with a moral duty to understand their new neighbours. Warner provides the intellectual scaffolding for the endeavour, particularly in terms of how narratives migrate between cultures, and the way in which national myths can be traced to itinerant and 'alien' origins. Part of the exhilaration of reading any work by Warner is the breadth of reference. It is the opposite of dilletantism, a purposeful, sharp stitching: she will link and pierce from Anglo-Saxon Vercelli Manuscript to Jacobus de Voragine's Golden Legend, Evelyn Waugh, Old King Cole, Seamus Heaney, Orhan Pamuk to Charles III's coronation gift from the Pope. She adeptly brings in visual art and architecture: I was mildly disappointed Nathan Coley's wonderful Lamp of Sacrifice; 286 cardboard 'places of worship' in the Edinburgh Yellow Pages – and therefore all sanctuaries – did not make the cut, even if just to remind us sanctuaries still exist. It is appropriate, particularly here, that the disciplinary borders are so porous. In a clever neologism, Warner refers to 'spories', a portmanteau of story and spore, and playing with the Greek meaning both the scatter and the sow – it is, significantly, a ghostly presence in diaspora, a community more self-consciously bound by its stories. Warner is alert to the fact that knowing something is a fiction does not mean it has any less emotive force. She wryly notes that Ellisland Farm describes itself as the 'most authentic' of the homes of Robert Burns (despite the fact it is now a museum, not a home). The idea of the story as a site (a camp-fire, a well, a glade) of exchange and safety and imagined possibility gives a fixed point to Warner's capacious mind. More importantly, she reminds us why we call the discipline 'the humanities'. Advertisement Hide Ad Advertisement Hide Ad The World Within: Why Writers, Artists and Thinkers Retreat, by Guy Stagg, Scribner, £20.

South Wales Argus
03-06-2025
- South Wales Argus
EastEnders legend Ross Kemp refuses to rule out return
The 60-year-old returned to EastEnders as Grant Mitchell after almost 10 years away earlier this year. His character arrived back on the Square to help his brother Phil with his mental health problems. Grant recently left Walford again for his home in Portugal. 🏆🥳 WINNER! 🥳🏆 What a year and what an honour to be crowned Best British Soap at The British @SoapAwards 2025 by the people who matter the most - YOU! ❤️ Thank you to everyone who voted! Lots of love, your #EastEnders family. #TheBritishSoapAwards @BBC @BBCOne @BBCiPlayer — BBC EastEnders (@bbceastenders) May 31, 2025 Speaking on Loose Women, Kemp said he owes the BBC soap 'a great debt' for giving him a career in television. Asked whether he would return to the role of Grant again, Kemp said: 'You just don't know, do you? You don't know what's in the minds of the people who work on it. 'I've also (always) known that without it, I wouldn't have had the career that I've had, I've always owed it a great debt and it was very good to me, and hopefully I was good to it, and why not keep it that way? 'I've always believed that you should leave doors swinging rather than shut them.' Kemp, who went on to produce a number of documentaries since first leaving EastEnders in 1999 including Ross Kemp On Gangs, Ross Kemp In Afghanistan and Ross Kemp: Extreme World, said he enjoyed returning to the soap. He explained: 'It was so wonderful to jump into Grant's leather jacket again, which I can still get in. EastEnders' top 5 villains 'It's a family, it's an ongoing thing, and I'm talking about the past, and they're really busy doing their own thing, I just parachute in, and I exit generally by the tube station. 'But they've got to be welcoming, because it's like a high-speed train, you've got to jump on it at the right time or you miss it. 'So luckily, Steve McFadden (who plays Phil), and Paul Bradley (who plays Nigel Bates), and Letitia (Dean, who plays Sharon Watts) opened the door for me, and it was like going back home, and it was great.' Are Ross Kemp and Steve McFadden friends? Their brotherly love on-screen may have been tested over the years, but in real life Kemp and actor McFadden share a close relationship. 'We've [McFadden and I] always remained friends, but, yeah, we are more in touch since I've gone back for the 40th anniversary,' Kemp told The Mirror earlier this year. 'Steve is a fine actor and I don't think soap actors get recognised for how good they are.' Recommended reading: Kemp began on the soap in 1990, and his previous appearance prior to his 2025 return, in 2016, marked his on-screen mother Dame Barbara Windsor's final episode as Peggy Mitchell. Where does Ross Kemp live? Kemp lives in the picturesque Thames-side village of Cookham in Berkshire. He is well known within the community and has openly spoken about how he frequently visits nearby Marlow's restaurants.


The Guardian
31-05-2025
- The Guardian
Anger as Dorset estate withdraws public entry to ‘stunning' local landmark
For decades the lake and waterfall on the Bridehead Estate in Dorset have brought joy to visitors who used the permissive path to access a scene of pastoral loveliness that could have come straight from the pages of a Thomas Hardy novel. But there was melancholy – and anger – among the hundreds, possibly thousands, who made final pilgrimages to the village of Littlebredy this week after it was announced that access to the public was being halted from 2 June. 'Coming here is like going back in time to the 1950s or 60s when life was much easier and simpler,' said Caroline Lewis, from Weymouth, a retired civil servant and teacher who has been visiting for half a century. 'It's beautiful and peaceful. I have lots of happy, peaceful memories here. It's serene and soothing, and it seems selfish to close it off.' Landscape photographer Rachel Baker has been visiting for 10 years. 'I first stumbled on it when we did a day trip to west Dorset and stopped off in Littlebredy on our way home. It was such a beautiful, tranquil spot with hardly a human in sight. 'The waterfall is particularly stunning at autumn as it is framed by a Japanese maple, and the leaves go from golden yellow to a deep red. It became a bit of a pilgrimage to visit and photograph the waterfall every autumn. 'It feels a tremendous shame that the access that has been given to the public for so many years is being taken away.' Kevan Manwaring, a university lecturer in creative writing, said it was culturally important. Hardy knew this area well, thus one of the main characters in his novel Jude the Obscure was named Sue Bridehead. The artist David Inshaw painted the cricket pitch on the estate in the 1970s and, more recently, the waterfall was used as a setting for a crime scene in the television show Broadchurch. Manwaring said: 'We should be encouraging people to spend more time in nature, not less.' The history of the estate stretches back centuries. According to an information notice in the village church, St Michael and All Saints, the 'bredy' in 'Littlebredy' comes from a Celtic word meaning to throb or boil, thought to be a reference to the stream. For more than 400 years, the estate was owned by Cerne Abbey until the dissolution and at the end of the 18th century, it was bought by Robert Williams, whose family grew rich from furniture making, banking – and a stake in the East India Company. The stream was damned to create Bridehead Lake. Acer, tulip trees and pines were planted and at the western end of the lake, and water spilled out into the mossy waterfall. The house and estate were passed down through the Williams family and villagers and visitors were given access to the lake and waterfall in exchange for a donation to the village church. Over the years, people have scattered ashes of loved ones – and pets – at the site. Last year the 16-bedroom house and 2,000-acre estate came on to the market with a guide price of £30m. Country Life described it as a 'joyous home, full of surprises'. The house and estate is believed to have sold quickly. The identity of the new owner has not emerged but a notice saying that 'permissive access will be withdrawn as of Monday 2 June 2025' appeared on a fence beside the path. The Right to Roam campaign has said it will challenge and 'defy' the ban. Nadia Shaikh, from the campaign, said: 'Bridehead's beauty and tranquillity should continue to be accessible to all, not locked away behind estate gates. This landscape is more than just scenery – it's part of the cultural and natural heritage of Dorset, intertwined with local identity and community life. 'This closure epitomises the precarious nature of public access to the countryside across England. It is part of a growing trend of micro-enclosures and the paywalling of the countryside. The government urgently needs to pass new legislation to protect access to places like Bridehead and extend access to the countryside elsewhere.' Shaikh said the estate's history was 'deeply tied to colonial exploitation' through the East India Company, adding: 'Maintaining public access is a positive step toward accountability, community healing, and celebrating a more inclusive, shared heritage.'