William Barton settled near a springs west of the mouth of Shoal Creek in the 1830’s. He left a canoe on the north bank of the Colorado River so that people in the new settlement of Austin could visit his namesake. Barton’s canoe remained the only transportation across the river until the establishment of ferries in the late 1840s.
John J. Grumbles set up a regular ferry at Shoal Creek, at the western edge of the city, where William Barton kept his canoe. Shoal Creek remained one of the most important river crossings until the construction of permanent bridges.
One man alone can be pretty dumb sometimes, but for real bona fide stupidity, there ain’t nothin’ can beat teamwork. Edward Abbey
There is really no limit to interpretative subjects within our chosen world of nature, history, and culture (blandly known as heritage). But, often the subjects that are the most important to our interpretation are among the most obscure. How do we bring that which is hidden or concealed to the attention of the world?
How did life come to be left out of Austin’s future?
Hurricanes, earthquakes, and tornados are considered forces of nature. With these, we expect the worst. A force of nature, beyond our control, is to be feared.
Life itself is a force of nature. Life, as a force, is inexorable, relentless. Life, too, is beyond our control. We can destroy life. We cannot create new life where none existed before.
Life expands and evolves to fit every niche and opportunity, given enough time and progeny. The more diverse the niches available (like a tropical rainforest), the richer and more varied the life that occupies them.
What stands between our heritage and the inability of man to control his greed is law.
Europeans came to this country over 400 years ago, and were blessed by what they believed to be limitless resources. The land seemed fertile beyond reason or imagination, and wildlife could be harvested without concern for its diminishment. Or, so they thought.
Actually, I stole the form, and then modified it to fit my specific need. Pablo Picasso is most often credited with the form (good artists copy, great artists steal), but I can find references from T.S. Elliott (the immature poet imitates; the mature poet plagiarizes), Igor Stravinsky (lesser artists borrow; great artists steal), and William Faulkner (immature artists copy, great artists steal). I suspect that they all stole the form from someone else.