Issue: 65 Page: 73-74
The Lost Amazon: The Photographic Journey of Richard Evans Schultes
by Mark Blumenthal
HerbalGram. 2005; 65:73-74 American Botanical Council
The Lost Amazon: The Photographic Journey of Richard Evans Schultes
by Wade Davis. San Francisco: Chronicle Books, 2004. 160 pp. ISBN# 0-8118-4571-0.
$35.00. ABC catalog #B536.
As editor of a journal like HerbalGram, I receive many books on herbs and natural health
for review. Once in a great while a book crosses my desk that causes me to
immediately stop whatever I’m doing, pick it up, look through it, and read a
few pages or chapters. With this coffee-table book’s arrival on a Friday
afternoon, I took it home for the pre-winter holiday weekend, knowing that
whatever editorial work I was planning would be trumped to give me time to
enjoy this beautiful volume.
There are at least three reasons why this book is so compelling. The first
is the primary protagonist, Richard Evans Schultes, the famed and highly revered
Harvard botanist who is universally considered the “father of ethnobotany.” Schultes
was a man who in many respects was larger than life. During his many years of
research in the Amazonian basin, he lived with dozens of native tribes and mapped
uncharted rivers, while seeking new supplies of rubber for the U.S. government
prior to and during World War II. During his lifetime Schultes collected over
30,000 botanical specimens, 300 of which were new to science, and he described
the uses of over 2000 medicinal plants that had not previously been documented.
Schultes’ progeny of students reads like a who’s who of
ethnobotany: the author Wade Davis; famed integrative medicine advocate and
best-selling author Andrew Weil; the late ethnobotanist Timothy Plowman;
ethnobotanists and researchers Michael Balick, Steven King, and Marc Plotkin;
and others. Davis tells the story of how so many botanists travel a plant-rich
locale like the Amazon and, looking into the rainforest, are able to recognize
two or three of the plants with which they were familiar. In contrast, Schultes
would look at the forest and point out the two or three plants that he did
not know.
The second reason this book grabs the reader is Davis’
writing. Wade is really a poet, but he chooses the (in)convenience of prose.
The photos are explained with captions excerpted from Davis’ previous book, One
River – Exploration and Discoveries in the Amazon Rainforest (Touchstone, 1996). One River is Davis’ tribute to his mentor and to another
Schultes’ student Timothy Plowman, who was Davis’ fellow tropical traveler as
they retraced Schultes’ journeys in the Amazon some 30 years later. (Some
readers will recognize Davis’ works; his books include the much misinterpreted The
Serpent and the Rainbow [Simon &
Schuster Touchstone, 1985], which was later distorted by the Hollywood movie of
the same name, wherein zombie potions of poisonous herbs catch the interest of
a botanist and scout for the pharmaceutical industry—all based on Davis’ own
post-graduate research experience in Haiti).
The photographs themselves are the third reason this book is
so compelling. They are strikingly beautiful, especially since they are black
and white! Schultes was not only one of the world’s pre-eminent botanists, he
was also a great photographer. The large-format book allows these photos to
take up the whole page with an almost a life-like effect, that is, as
“life-like” as black and white photography can be.
The Foreword by Andrew Weil recounts how Weil was indelibly
affected by Schultes. As a young undergraduate student at Harvard, Weil signed
up for Schultes’ Biology 104, Introduction to Economic Botany. As Weil has
stated numerous times in many speeches and interviews, the initial contact with
Schultes changed the course of Weil’s education and still influences his
trajectory as one of the premier leaders of integrative medicine, now a widely used term, coined by Weil to describe
the rational combination of modern conventional medical practices with
empirically sound “alternative” modalities. “Meeting this legendary botanical
explorer was one of the truly seminal events in my life….When I entered Harvard
Medical School in 1964, I soon realized how valuable my connection to the world
of plants was going to be. Most of my classmates and teachers had little
experience with it. Even the pharmacologists knew little of the natural sources
of the drugs they studied and taught about….”
Weil’s three pages contain two classic photos of himself
(then black-bearded) with a cultivated specimen of one of the plants that
Schultes studied and experienced in native rituals—the powerful hallucinogen
and shamanic favorite yage’ or ayahusaca (Banisteriopsis caapi), the “vine of the soul.” This is also the name of a
book by Schultes and Richard Raffauf, Vine of the Soul: Medicine Men,
Their Plants and Rituals in the Colombian Amazonia (Synergetic Press, 1992).
Generously weaving a web through the photographs is text borrowed from One
River. Veteran HerbalGram readers will recall that a black and white
photo of Schultes was the cover photo of HerbalGram 38, which included
an eight-page spread with excerpts and photos from that book.
While One River was a
narrative of Schultes’ ethnobotanical experiences in the Amazon, this book is
created from the exquisite photography of Schultes’ during the twelve years he
spent cataloguing rubber trees and medicinal and psychoactive plants. His
photos, taken in the 1940s and 50s, shows an Amazon before it lamentably went
the way of modernization and the influences of the twentieth, and the now the
twenty-first, centuries.
Davis’ Preface is an explanation of the book’s genesis and
homage to Schultes and to that magical interplay of light, timing, composition,
and equipment known as photography. Davis relates how the type of camera (an
old 1927-era twin lens Rolleiflex) influenced Schulte’s composition and the
resulting photographs in the book.
A poignant passage relates that during his last few years,
an aging and Alzheimer’s-affected Schultes kept a copy of One River by his bedside. After his death, Schultes’ widow
Dorothy (to whom the entire author’s royalties are dedicated) told Davis that
reading the book had allowed her husband to remember many forgotten details of
his own life. “I found this both amusing and very touching,” writes Davis.
“Here after all was the man who had made my life possible. Now the book had
become his life. His life had become my imagination, and my imagination had
breathed meaning and content back into the life of an old man who was slowly
fading away as all old men must inevitably do.”
There’s probably no richer, more meaningful, more
appropriate way any student can repay his or her primary mentor than to help
the mentor reconnect to the threads of his or her own life. It’s as if Schultes
experienced one of the aspects of the meaning of religion through his student’s work: religion, from Latin religio, means to re-connect.
This book emanates an almost palpable essence or feeling
that allows the reader to connect to a place, a time, a world that is now gone,
yet beautifully preserved—like an insect encased in a piece of clear amber—in
the photography of one of botany’s greatest leaders and luminaries. The entire
ethnobotanical community owes Wade Davis a deep debt of incalculable gratitude
for making these images available to a new generation of plant enthusiasts and
potential explorers.
—Mark Blumenthal
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