Sarah Kendzior: The Last Incorruptible Thing

Sarah Kendzior

Life lessons from the morel majority.

By Sarah Kendzior | May 4, 2026

I was five miles in the woods, looking for the Last Incorruptible Thing.

“Aren’t you a brave soul,” a woman said when I emerged. She wore jogging clothes and a knowing smile. I looked like the Unabomber’s little sister.

“Not brave,” I said. “Just walking round the river. Get that springtime weather while it lasts! I went in the woods to watch birds. Plants and birds and rocks and things.”

America lyrics, the last refuge of an American mycological liar.

“Mmm-hmmm,” she said. “You find any mushrooms?”

“If I did, I’d tell you no. And if I didn’t, I’d tell you yes,” I said, since she knew my game. She laughed and jogged away.

I had a pocket full of Missouri Gold: morels, the most elusive of mushrooms. A successful morel hunt is a victory. But the search is the real reward.

The morel is the Last Incorruptible Thing. You cannot plant them. You cannot buy them in stores. You can only spot them in the wild. Morels demand complete surrender to nature’s whims. They grow for three to four weeks each spring, and no one knows when or where. They pop up like middle fingers to corporate control.

Sarah Kendzior’s Newsletter is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

Morels encourage revolt against the digital panopticon. No self-respecting morel hunter posts their hot spots online or reveals their finds in real time. Morels cannot be recorded by Ring or tracked by GPS. They are immune from AI chicanery. Make an AI morel and watch no one care: digital tricks hold no power here. Morel hunters guard their secrets in the analog world: in the depths of the forests and the recesses of their minds. Morels are escape artists, and you escape with them.

I am a member of the morel majority. Every spring, I wait for the surface of the world to shred and the last pure truth to show.

In the forest, you have one mission. You stagger like a zombie until a morel emerges like a brain. You extract it with a loving touch and guard it until it’s time to feast. Nothing tastes as sweet as serendipity.

A proper morel hunt requires that you walk the woods for hours with eyes to the ground. The outside world fades into irrelevance, a distant realm of misplaced priorities like mortgages and jobs. In the real world, the morel world, you seek loamy soil, south-facing slopes, fallen sycamores. You go slow. You dodge branches and climb creek beds. You take nothing for granted.

With this knowledge, you learn not only the mushroom but the land. What you can grasp from the crunch of a leaf or the rise of a flower. You sense when the season is starting and when it’s getting too late. You know that you could be wrong, and that being wrong is the most pleasant surprise of all.

* * *

I have had a banner year for morels and a terrible year for most everything else. I found dozens in three counties and would have found more if the first morels had not appeared when I was across the country at my father’s funeral.

The day after I returned to Missouri, I left at dawn and came home late. I walked miles through the forest, grateful to have a singular and uncomplicated goal. As Townes van Zandt sangSorrow and solitude, these are the precious things. It hurt to be near people.

Morels don’t wane like sympathy.

I’m obsessive enough to know when I’ve found barren terrain or got beat to the punch by fellow obsessives (respect), but I keep moving. A highlight of the hunt is stumbling upon bizarre shit in the woods. This year, I found the ruins of a 19th-century monastery, a shipwreck so far from the river that it rots in a meadow, and a stone staircase to nowhere, making me wonder if morels found there would be haunted.

Did I actually find morels in these places? Shit if I’d tell!

I got scratched, bruised, bloodied, and sore, but never bored. My thoughts stayed captive to the forest floor. When grief ripped through me, I retraced my steps, wondering if I’d missed one, and often I had. That’s the mercy of morels: they are reticent by nature, and when they reveal themselves to you upon your return, it’s like getting the do-over you don’t get in life.

Live fast, die young, leave a good-tasting corpse. Morels aren’t meant to last, so you can’t mourn them when they’re gone.

A week into my quest, the temperature rose. I grew apprehensive. Morels are immune to the evils of the modern age: surveillance, commodification, even industrialization. In St. Louis, they paved paradise and put up parking lots, and morels grew in the cracks. St. Louis is no paradise, more a paradise lost, and its underground rises up on the regular. Morels are no exception. A St Louisan will spend all day scouring distant forests only to spot one in the bushes behind QuikTrip on the drive home.

April’s heat wave ended my season. I stayed in denial and sweated out the hunt, knowing the soil was too dry, the grass was too tall, and, in my heart, that it was over. I had an irrational fear that this was the last time. Then I read of Americans elsewhere enjoying their bounty and knew nothing could outwit the morel. They are incorruptible. They aren’t meant to make sense. They defy prediction, including bad predictions. I could keep on believing.

My real regret was personal. If morel season was over, and I lost my singular goal, something else would arrive to fill the time. I knew it would be grief, and it was.

There were days where I found nothing, but nothing is good enough for me. There are people for whom nothing is good enough, meaning nothing ever satisfies them, and people for whom nothing is good enough because the point is the quest.

The latter type thrives in morel season, when life is brutish, short, and magical.

* * *

Sarah Kendzior’s Newsletter is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

 
     

Gwenifer After Hours

In this first instalment of our After Hours Sessions, Gwenifer Raymond performs a live acoustic guitar session in the Turnstone Guitars workshop with her haunting, percussive fingerstyle playing filling the same space where the guitar was made.

Filmed on a Turnstone Select Series TG model, this series invites exceptional artists to perform on our hand-built acoustic guitars after hours, capturing the sound of the instruments and the spirit of the place they’re crafted.

Beverley Martyn, spirited British folk singer, dies aged 79

Singer-songwriter was known for collaborations with former husband John Martyn as well as star-studded 1960s singles and 2014 comeback album

By Ben Beaumont-Thomas

British folk singer Beverley Martyn, known for her collaborations with her former husband John Martyn as well as spirited, sublime solo work, has died aged 79.

A statement from the family of the late John Martyn announced the news, saying she died peacefully at home on Monday. “Beverley was a remarkable woman of great inner strength,” the statement continued. “She was beautiful, intelligent, warm and kind.”

Born Beverley Kutner near Coventry in 1947, she moved to London in her mid-teens to attend drama school and worked her way into the city’s folk music scene, which was flourishing in the early 1960s: she learned to play guitar from British folk legend Bert Jansch, an early boyfriend.

She released a single with her band, the Levee Breakers, the stridently jangling Babe I’m Leaving You, and also recorded solo songs including the enduring Happy New Year, a fuzz-guitar romp written by Randy Newman and featuring a pre-Led Zeppelin Jimmy Page and John Paul Jones among the session musicians. Page later said: “It was a remarkable session, at the time it was recorded I knew that she was a shining talent in the world of performance and songwriting.” Another single, Museum, was written by Donovan.

After becoming romantically involved with Paul Simon during his developmental years in London – “He had a Napoleon complex. Very intelligent. Moody, but witty,” was her assessment of him in a 2014 Guardian interview – she travelled with him to perform at the Monterey pop festival in 1967 (the culture-shifting event where Jimi Hendrix famously set his guitar on fire) and briefly appeared on the Simon & Garfunkel album Bookends, a US and UK No 1

She became a single mother to a son, Wesley, from another relationship, then met John Martyn in 1969, soon marrying him. Immersed in the folk-rock counterculture in the US, they recorded a duo album, Stormbringer!, in 1969 in Woodstock, with the Band’s Levon Helm on drums and Joe Boyd producing. It was released in 1970, and later that year they recorded and released another, The Road to Ruin (its opening track Primrose Hill would later be sampled by Fatboy Slim).

Beverley also came to know British folk star Nick Drake, who would babysit for her children; they wrote a song together, Reckless Jane, which Beverley completed in 2014.

She and John had two children of their own, but after he pursued his solo career, “my career was over”, she said in 2014. “I had my hands full. I did the odd gig with John, and the odd one on my own, but I had no future.”

Their marriage soured; John, who struggled with alcohol and drugs, became paranoid and threatening. “There was love there – it was the drink and the bad drugs, the very heavy ones, that changed his disposition, and they made life unbearable for anyone around him,” she later said. “I wouldn’t stay with a man who was killing himself.”

She escaped the marriage and moved to Brighton, fitfully making music including with Loudon Wainwright III and Wilko Johnson, but it wasn’t until her 2014 solo album, The Phoenix and the Turtle, that she made a more emphatic return. “It was a great relief to finally do something on my own terms. That was a dream I’d almost given up on,” she said of that project.

That would be her final collection of new material, though in 2018 she released a compilation of her 1960s songs, entitled Where the Good Times Are.

.Source: Beverley Martyn, spirited British folk singer, dies aged 79 | Folk music | The Guardian