Tea Time: Violet Leaf Tea

The genus Viola is large and widespread. Its flowers are easily recognizable and obviously popular. A significant number of Viola species, hybrids, and cultivars are commercially available and commonly planted in flower beds and container gardens. Certain species have even become weeds – vicious lawn invaders in some people’s opinion. Violets (or pansies in some cases) are also edible. Their leaves and/or flowers can be used in salads, drinks, and desserts. One way to use the leaves is to make tea, so that’s what I did.

I imagine you can make tea from any Viola species, but after some searching I found that two species frequently mentioned are Viola odorata and Viola sororia – two very similar looking plants, one from the Old World and the other from the New World.

sweet violet (Viola odorata)

Viola odorata – commonly known as sweet violet, wood violet, or English violet – is distributed across Europe and into Asia and has been widely introduced outside of its natural range. It has round, oval, or heart-shaped leaves with toothed margins that grow from the base of the plant, giving it a groundcover-type habit. Its flowers range from dark purple to white and are borne atop a single stem that curves downward at the top like a shepherd’s crook. It has no leafy, upright stems, and it spreads horizontally via stolons and rhizomes. The flowers are distinctly fragrant and have a long history of being used in perfumes.

One way to get a good whiff of these flowers is to try a trick described in the book The Reason for Flowers by Stephen Buchmann:

Go into a garden or any natural area and select one or more flowers you want to investigate…. Select a small, thoroughly washed and dried glass jar with a tight-fitting lid. Place just one type of flower in the jar. Set your jar in a warm, sunny place such as a windowsill and come back in an hour or two. Carefully open the lid and sniff…. If you’ve selected a blossom with even the faintest scent, you should be able to smell it now, since the fragrance molecules have concentrated inside the jar.

sweet violet flowers inside glass jar

Viola sororia – native to eastern North America –  is also commonly planted outside of its native range. It’s clearly a favorite, having earned the distinction of state flower in four U.S. states. Known as the common blue violet (or myriad other commons names), it looks and acts a lot like sweet violet. I distinguish them by their flowers, which are wider and rounder (chunkier, perhaps) than sweet violet flowers, and their leaves, which are generally more heart-shaped. Feel free to correct me. If, like me, you’re having trouble identifying violets, keep in mind that Viola species are highly variable and notorious hybridizers, so don’t beat yourself up over it. It’s their fault, not yours.

common blue violet (Viola sororia)

Violets bloom when the air is cool and the days are short. They are among the earliest plants to flower after the new year and among the latest plants flowering as the year comes to a close. In his entry on violets in The Book of Forest and Thicket, John Eastman refers to these early bloomers as “this low, blue flame in the woods.” They are like “a pilot light that ignites the entire burst of resurrection we call spring.” I can’t really picture spring without them. I find their unique flowers so intriguing that I fixate on them whenever I see them. And once I learned that I could make a tea out of their leaves, I had to try it.

I used the leaves of Viola odorata (or what I, with my amateur skills, identified as V. odorata). I picked several of what looked to be young leaves and left them to dry in the sun for several days. Later, I chopped them up and brewed a tea according to the instructions found on this website, which suggests using one tablespoon of dried leaves in sixteen ounces of water. Apparently, a little goes a long way, and I probably could have used fewer leaves than I did.

dried, chopped up leaves of sweet violet (Viola odorata) for making tea

The tea has a nice green color and smells a bit like grass to me. It may even taste like grass. I found it fairly bitter. Sierra didn’t like it and called it musty. I enjoyed it, but would likely enjoy it more if I hadn’t made it quite so strong. The aforementioned website also recommends combining violet leaf with other things like mint, dandelion, clover, and/or chamomile. I imagine a combination of ingredients could be better than just violet leaf on its own. Another site warns that “some of the wild violets have an unpleasant soapy flavor,” so that’s something to keep in mind when selecting your leaves for tea and other things. Either way, violet leaf tea is an experience worth having.

See Also: Pine Needle Teas

Book Review: Fruit from the Sands

“By dispensing plants and animals all around the world, humans have shaped global cuisines and agricultural practices. One of the most fascinating and least-discussed episodes in this process took place along the Silk Road.” — Fruit from the Sands by Robert N. Spengler III

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My understanding of the origins of agriculture and the early years of crop domestication are cursory at best. The education I received was mostly concerned with the Fertile Crescent, as well as crops domesticated by early Americans. The Silk Road, as I understood it, was the route or routes used to move goods across Asia and into eastern Europe well after the domestication of many of the crops we know today. Other than the fact that several important crops originate there, little was ever taught to me about Central Asia and its deep connection to agriculture and crop domestication. I suppose that’s why when I picked up Fruit from the Sands by Robert N. Spengler III, published last year by University of California Press, I wasn’t entirely prepared for what I was about to read.

It wasn’t until I read a few academic reviews of Fruit from the Sands that I really started to understand. Spengler’s book is groundbreaking, and much of the research he presents is relatively new. The people of Central Asia played a monumental role in discovering and developing much of the food we grow today and some of the techniques we use to grow them, and a more complete story is finally coming to light thanks to the work of archaeologists like Spengler, as well as advances in technology that help us make sense of their findings.

This long history with agricultural development can still be seen today in the markets of Central Asia, which are loaded with countless varieties of fruits, grains, and nuts, many of which are unique to the area. Yet this abundance is also at risk. Crop varieties are being lost at an alarming rate with the expansion of industrial agriculture and the reliance on a small selection of cultivars. With that comes the loss of local agricultural knowledge. Yet, with climate change looming, diversity in agriculture is increasingly important and one of the tools necessary for maintaining an abundant and reliable food supply. Unveiling a thorough history of our species’ agricultural roots will not only give us an understanding as to how we got here, but will also help us learn from past successes and failures. Hence, the work that Spengler and others in the field of archaeobotany are doing is crucial.

To set the stage for a discussion of “the Silk Road origins of the foods we eat,” Spengler offers his definition of the Silk Road. The term is misleading because there isn’t (and never was) a single road, and the goods, which were transported in all directions across Asia, included much more than silk. In fact, some of what was transported wasn’t a good at all, but knowledge, culture, and religion. In Spengler’s words, “The Silk Road … is better thought of as a dynamic cultural phenomenon, marked by increased mobility and interconnectivity in Eurasia, which linked far-flung cultures….This network of exchange, which placed Central Asia at the center of the ancient world, looked more like the spokes of a wheel than a straight road.” Spengler also sees the origins of the Silk Road going back at least five thousand years, much earlier than many might expect.

Most of Spengler’s book is organized into chapters discussing a single crop or group of crops, beginning with grains (millet, rice, barley, wheat) then moving on to fruits, nuts, and vegetables before ending with spices, oils, and teas. Each chapter compiles massive amounts of research that can be a bit overwhelming to take in all at once. Luckily each section includes a short summary, which nicely distills the information down into something more digestible.

Spengler’s chapter on broomcorn millet (Panicum miliaceum) is particularly powerful. While in today’s world millet has largely “been reduced to a children’s breakfast food in Russia and bird food in Western Europe and America,” it was “arguably the most influential crop of the ancient world.” Originally domesticated in East Asia, “it passed along the mountain foothills of Central Asia and into Europe by the second millennium BC.” It is a high-yielding crop adapted to hot, dry conditions that, with the development of summer irrigation, could be grown year-round. These and other appealing qualities have led to an increase in the popularity of millet, so much so that 2023 will be the International Year of Millets.

The “poster child” for Spengler’s book may very well be the apple. Popular the world over, the modern apple began its journey in Central Asia. As Spengler writes, “the true ancestor of the modern apple is Malus sieversii,” and “remnant populations of wild apple trees survive in southeastern Kazakhstan today.” As the trees were brought westward, they hybridized with other wild apple species, bringing rise to the incredible diversity of apple cultivars we know today. Sadly though, most of us are only familiar with the small handful of common varieties found at our local supermarkets.

Of course, as Spengler says, “No discussion of plants on the Silk Road would be complete without the inclusion of tea (Camellia sinensis),” a topic that could produce volumes on its own. Despite the brevity of the section on tea, Spengler has some interesting things to say. One in particular involves the transport of tea to Tibet in the seventh century, where “an unquenchable thirst for tea” had developed. But the journey there was long and difficult. Fermented and oxidized tea leaves traveled best. Along the way, “the leaves were exposed to extreme cold as well as hot and humid temperatures in the lowlands, and all the time they were jostled on the backs of sweaty horses and mules.” This, however, only improved the tea, as teas exposed to such conditions “became a highly sought-after commodity among the elites.”

“In Central Asia, Mongolia, and Tibet, tea leaves were oxidized, dried, and compressed into hard bricks from which chunks could be broken off and immersed in water.” – Robert N. Spengler III in Fruit from the Sands (photo via wikimedia commons)

As dense as this book is, it’s also quite approachable. The information presented in each of the chapters is thorough enough to be textbook material, but Spengler does such a nice job summing up the main points, that there are plenty of great takeaways for the casual reader. For those wanting a deeper dive into the history of our food (which in many ways is the history of us), Spengler’s book is an excellent starting point.

More Reviews of Fruit from the Sands:

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The Cedars of Pencils

People interested in pencils have been particularly excited lately about a pencil being made by Musgrave, a 100+ year old pencil company based in Shelbyville, Tennessee (a.k.a. Pencil City). This pencil is especially unique because it is made from the wood of Juniperus virginiana, known commonly as Tennessee red cedar, eastern red cedar, aromatic cedar, and (yes, even) pencil cedar. For anyone who may have been around in the early 1900’s, this wouldn’t seem like anything special, as it was not uncommon for pencils at that time to made from this wood. However, around the mid-20th century J. virginiana was largely replaced by Calocedrus decurrens as the wood of choice for pencil making, and few (if any) have been made with J. virginiana since then. Hence, Musgrave’s new pencil, fittingly named Tennessee Red Cedar, is a momentous occasion.

The Tennessee Red Cedar Pencil

Pencils today are made from a variety of different woods and wood-adjacent materials (see Wopex pencils), each having their pros and cons and each being loved, hated, or something in between by people who care about pencils. However, pencils made from cedar – Juniperus virginiana and Calocedrus decurrens in particular – tend to be among the most preferred. These woods are soft, attractive, rot resistant, sharpen easily without splintering, and take well to wood stain or lacquer, not to mention they smell great. But if you’re like me and you’re interested in plant names and plant taxonomy, you may have already noticed something – the trees these pencils are made of aren’t cedars at all, at least not in the botanical sense.

Calocedurus decurrens, commonly known as California incense cedar (or simply, incense cedar), is a large tree in the cypress family (Cupressaceae) that occurs in western North America, mainly in California and Oregon. It’s known for its drought-tolerance and fire-resistance, and humans have found numerous uses for it over many centuries (millennia, even). Juniperus virginiana is also in the cypress family and naturally occurs in eastern North America. As a pioneer species, it is one of the first trees to colonize recently disturbed landscapes. Its rot resistant wood makes it an ideal choice for fence posts and many other products. Its heartwood has a red-purple color to it, which is particularly attractive, especially when contrasted with its pale sapwood (see photo of pencils above).

General’s Cedar Pointe – a natural, unfinished pencil made from California incense cedar (Calocedrus decurrens)

Both of these species, as well as others that are commonly referred to as cedars, have scale-like leaves and small cones. They are more appropriately referred to as false cedars. True cedars, on the other hand, are members of the genus Cedrus and mainly occur in the Mediterranean region and the western Himalayas. As members of the pine family (Pinaceae), their leaves are needles, which are borne in clusters atop peg-like stems that form along branches. Their cones are large and barrel-shaped and grow on the tops of branches.

So why the common name confusion? This likely comes from the fact that wood harvested from both groups of trees share similar qualities and have similar uses. While there are no trees in the genus Cedrus native to North America, the wood of species in the genera Juniperus, Thuja, Calocedrus, and Chamaecyparis (which are found in North America) have fragrant, soft, rot-resistant wood that makes great construction material for a variety of things, including pencils. The name cedar simply has more to do with the wood than the genetic relationships or morphological similarities among these species.

“Natural cedar” pencils most likely made from Calocedrus decurrens

In addition to their new Tennessee Red Cedar pencil, Musgrave also recently produced a pencil made from old Tennessee red cedar slats that have been sitting in a storage building since the 1930’s. These limited edition pencils are a true throwback to pencils of old. If you write or draw with wood-cased pencils, it’s worth considering the trees they came from. While it’s not always obvious what wood or material a pencil is made of, the story behind “cedar” pencils illustrates that there is more to a pencil than its name alone.

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Read more about Tennessee Red Cedar pencils at Pencil Revolution and The Weekly Pencil.

Zine Review: An Urban Field Guide to the Plants in Your Path

Depending on where you live in the world, it’s probably not too difficult to find a field guide to the plants native to your region. In fact, there may be several of them. They may not cover all the plants you’ll encounter in natural areas near you, but they’ll be a good starting point. Yet, considering that most of us live in cities these days, field guides to the wild plants of urban areas are sorely lacking. Perhaps that’s no surprise, as plants growing wild in urban areas are generally considered weeds and are often the same species that frustrate us in our yards and gardens. Few (if any) of these maligned plants are considered native, so that doesn’t help their case any. Why would we need to know or pay attention to these nuisance plants anyway?

I argue that we should know them, and not just so that we know our enemy. Weeds are the wild flora of our cities – they grow on their own without direct human intervention. In doing so, they green up derelict and neglected sites, creating habitat for all kinds of other organisms and providing a number of ecosystem services along the way. Regardless of how we feel about them for invading our cultivated spaces and interfering with our picture-perfect vision of how we feel our cities should look, they deserve a bit more respect for the work they do. If we’re not willing to go that far, we at least ought to hand it to them for how crafty and tenacious they can be. These plants are amazing whether we want to admit it or not.

Luckily I’m not the only who feels this way. Enter An Urban Field Guide to the Plants in Your Path, a zine written and illustrated by Maggie Herskovits and published by Microcosm Publishing. This zine is just one example of the resources we need to better familiarize ourselves with our urban floras. While there are many weed identification books out there, a field guide like this differs because it doesn’t demonize the plants or suggest ways that they can be brought under control or eliminated. Instead, it treats them more like welcome guests and celebrates some of their finer qualities. That being said, this is probably not a zine for everyone, particularly those that despise these plants, but take a look anyway. If you keep an open mind, perhaps you can be swayed.

Illustration of Pennsylvania smartweed (Polygonum pensylvanicum) from An Urban Field Guide to the Plants in Your Path

After a brief introduction, Herskovits profiles fifteen common urban weeds. Each entry includes an illustration of the plant, a short list of its “Urban Survival Techniques,” a small drawing of the plant in its urban habitat, and a few other details. The text is all handwritten, and the illustrations are simple but accurate enough to be helpful when identifying plants in the wild. The descriptions of each plant include interesting facts and background information, and even if you are already familiar with all the plants in the guide, you may learn something new. For example, I wasn’t aware that spotted spurge (Euphorbia maculata) was native to North America.

some urban survival techniques of common mullein (Verbascum thapsus)

Capsella bursa-pastoris in its urban habitat

Urban weeds often go ignored. They may not be as attractive as some of the plants found in gardens and parks around the city, and since they are often seen growing right alongside garbage, they end up getting treated that way. But if you’re convinced that they may actually have value and you want to learn a bit more about them, this guide is a great place to start. Perhaps you’ll come to feel, as Herskovits does, that “there is hope in these city plants.”

See Also: 

Botany in Popular Culture: Close It Quietly by Frankie Cosmos

Frankie Cosmos – the stage name for Greta Kline and also the name of her band – is not a new thing but was new to me in 2019. Their music is classified broadly as indie rock or indie pop, and could easily be placed in a number of subgenres. I, however, consider it punk. The songs are short, emotionally raw, unconventionally structured, simply arranged, and independently produced. That’s punk enough for me. Their most recent album, Close It Quietly, is easily my top pick for best album of 2019. The reason I’m saying this here on a blog about plants is because plants are featured in some of the lyrics. But it’s more than that really.

Quite often plants find their way into the lyrics of songs. They are, after all, great subject matter for all kinds of art. The special thing to me about the lyrics of Close It Quietly isn’t so much that plants get mentioned, but the sentiments that surround the references and the lessons learned from them. It may just be personal bias, but to me the plant references are more than just cursory. They come from a place of connection and personal relationship. Plants have things to teach us, and when we are open to it – which is often during challenging times in our lives – we can hear their lessons.

Trees receive the bulk of the plant references on this album. Like the song “Trunk of a Tree,” for example, in which Greta sings, “You’re the trunk of a tree / silent, filled with clarity.” That’s no surprise though. As David George Haskell writes in his book, The Songs of Trees, “To listen to trees, nature’s great connectors, is therefore to learn how to inhabit the relationships that give life its source, substance, and beauty.” There is great wisdom in trees. Confiding in or consulting with them can help bring clarity to a moment or feeling. This doesn’t have to mean anything weird – just being among trees and observing them in a reflective way will do the trick.

What follows is a list of some of the songs on Close It Quietly along with their plant references and some thoughts about them.

“41st”

This song is pretty fitting for the start of a new year, with the first line asking, “Does anyone wanna hear the 40 songs I wrote this year?” Looking back, maybe it was a crummy year. Perhaps you weren’t treated well, or maybe someone in your life didn’t turn out to be who you thought they were. There may be some comfort in knowing that you’re not the only one going through such things. Glancing up at the trees, Greta sings, “I look at the branches and hold a mirror up / They’re looking at me and say, ‘You don’t have a comb, do ya?'” The tangled branches of trees speak of past difficulties. As it turns out, we all have challenges that we’re trying to move past.

“A Joke”

We often find ourselves under pressures to be or act a certain way – to conform to some standard that was decided by someone else. Timelines created by other people direct our lives and tell us how or where we should be at a certain age or point in life. But, as Greta notes, “Flowers don’t grow in an organized way. Why should I?” It’s okay to be yourself, and there is no rush to become someone or something else.

“Rings (on a Tree)”

Sometimes we have to walk away from relationships, particularly when those relationships are not good for us. It’s never easy, but perhaps you’ll come to the realization that “it was wrong, so wrong / to try to hold on to a fallen tree / one that wouldn’t even look at me” or one that wasn’t “holding arms out lovingly.” It doesn’t mean that person wasn’t or still isn’t meaningful to you in some way. It’s just that it’s time to move on.

“This Swirling”

In our worst moments we are “like a dandelion,” and “just a little bit of breath blows [us] apart.” Our lives feel as chaotic as the swirling of a dandelion fluff tumbling through the air. However, a closer look reveals that a dandelion seed in flight is actually more stable than we originally thought. Perhaps we can take some comfort in that.

More Botany in Popular Culture

2019: Year in Review

It’s the start of a new decade and the beginning of another year of Awkward Botany. As we’ve done in years prior, it’s time to look back at what we’ve been up to this past year and look forward to what’s coming in the year ahead. Thank you for sticking with us as we head into our eighth year exploring and celebrating the world of plants.

The most exciting news of 2019 (as far as Awkward Botany is concerned) is the release of the first issue of our new zine, Dispersal Stories. It’s a compilation of (updated) writing that originally appeared on Awkward Botany about seeds and seed dispersal and is the start of what I hope will be a larger project exploring the ways in which plants get around. Look forward to the second issue coming to a mailbox near you sometime in 2020.

Also new to our Etsy Shop is a sticker reminding us to always be botanizing, including while riding a bike. Stay safe out there, but also take a look at all the plants while you’re cruising around on your bike or some other human-powered, wheeled vehicle. Whether you’re in a natural area or out on the streets in an urban or rural setting, there are nearly always plants around worth getting to know.

This year we also started a Ko-fi page, which gives readers another avenue to follow us and support what we do. Check us out there if Ko-fi is your thing.

Buy Me a Coffee at ko-fi.com

We also still have our donorbox page for those who would like to support us monetarily. As always you can stay in touch with us by liking and following our various social media accounts (Facebook, Twitter, Tumblr, and our currently inactive, but that could change at any moment Instagram). Sharing is caring, so please be sure to tell your friends about Awkward Botany in whatever way you choose. We are always thrilled when you do.

Below are 2019 posts that are part of new and ongoing series. You can access all other posts via the Archives widget. 2019 saw a significant drop in guest posts, so if you’d like to submit a post for consideration, please visit our Contact page and let me know what you’d like to write about. Guest writers don’t receive much in return but my praise and adulation, but if that sounds like reward enough to you, then writing something for Awkward Botany might just be your thing. And while we’re on the topic of guest posts, check out this post I wrote recently for Wisconsin Fast Plants.

Happy Reading and Plant Hunting in 2020!

Inside of a Seed & Seed Oddities:

Podcast Review:

Poisonous Plants:

Tiny Plants:

Eating Weeds:

Using Weeds:

Drought Tolerant Plants:

Tea Time:

Field Trip:

Awkward Botanical Sketches:

Guest Posts:

Out Now! Dispersal Stories #1

Before I started this blog, I had spent 16 years publishing zines at a steady clip and sending them to all corners of the world through the mail. I had never really meant to abandon zines altogether, and in some ways, putting all my writing efforts into a blog felt a little like a betrayal. My intention had always been to one day put together another zine. Now, six and a half years later, I’m happy to report that day has come.

Rather than bring an old zine back from the grave, I decided to make a new zine. Thus, Dispersal Stories #1. It’s quite a bit different from zines I’ve made in the past, which were generally more personal and, I guess, ranty. In fact, Dispersal Stories is very much like this blog, largely because it is mostly made up of writing that originally appeared here, but also because its main focus (for now) is plants. What sets it apart is that, unlike this blog, it zeroes in on a specific aspect of plants. As the title suggests, it’s all about dispersal. For much of their life, plants are essentially sessile. Once they are rooted in place, they rarely go anywhere else. But as seeds, spores, or some other sort of propagule they are actually able to move around quite a bit. The world is their oyster. What’s happening during this period of their lives is the focus of Dispersal Stories.

But why do a zine about this? Apart from just wanting to do another zine after all these years, my hope is that Dispersal Stories will be the start of a much more ambitious project. A book perhaps. My interest in dispersal was born out of my interest in weeds, and there is so much that I would like to learn and share about both of these subjects – so much so that the blog just doesn’t really cut it. So, I’m expanding the Awkward Botany empire. First a zine, then a book, then … who knows? I’m an oyster! (Or something like that.)

Dispersal Stories #1 is available in our etsy shop, or you can contact me here and we can work something out. While you’re at it, check out our new sticker.

If you love looking at plants and learning their names, then you probably enjoy doing it any chance you get. Usually it’s an activity you do while walking, but who says you can’t botanize while riding a bike? This sticker is inspired by a friend who once said that while mountain biking you get to “see three times as many flowers in half the time!” Stick it on your bike or in some other prominent location to remind yourself and others that we can botanize anytime anywhere.

Your purchase of one or both of these items helps support what we do. You can also support us by buying us a ko-fi or putting money in our donorbox. Sharing these posts also helps us out. If you get a copy of the zine, let us know what you think by sending us an email, a message on twitter or facebook, or by leaving a comment below. As always, thanks for reading.

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