Showing posts with label nature. Show all posts
Showing posts with label nature. Show all posts

Monday, December 15, 2008

overburden ii



An arctic front assails Platt Rd today. I am awed by the farmer out cutting his hay in the freezing cold. The hawks are still mating and their screetching is audible through the thin glass when the wind is not howling. The sky is gray, and the fields yawn beneath the swollen bellies of low-flying jets.

What is is that so mesmerizes me about the lunar landscapes of the overburdens? Yesterday I stopped the car to take a few photos, knowing that I would have to be blessed with my grandfather's litigious patience or at least his flawless German equipment to capture anything as evocative as what catches my heart in my throat when I pass these awkward heaps of earth.

I think about what it would be like to live out here and document precisely, through the moments and days and years, the almost imperceptible alterations in soil and sky, animal and vegetable. Such thoughts bring me back to Annie Dillard, and I wonder if it is possible, any more, to craft a life out of fleeting perceptions of the natural world, and words.

"...the very root meaning of the word 'geography'" writes Trevor Barnes and James Duncan, "is literally 'earth writing' (from the Greek geo, meaning 'earth' and graphien, meaning, 'to write.'"

The conflicting urges of image and word--or action and contemplation--perplex me. Maybe this is what my grandfather felt, after all, that he belonged in a world of dry creek and sage, of twisted juniper branches and dark rooms filled with chemical smells where the eidetic imprints of his soul were wrought forth in emulsion and paper. When I leaf through his negatives I cannot know.

Would he have stopped here on this empty road to behold a heap of sand eroding as slowly as his life unraveled? Would he have found in this landscape or burdens the same ineffable beauty?

Thursday, February 21, 2008

tallgrass prairie




Today a pleasant breakfast with a friend. We are speaking of Andrew Wyeth and he asks me where I am from, and suddenly the entirity of that landscape fills me. I can hear and smell the wind, and want to be there badly, urgently. Life is dense here, and the mind grows heavy with so much complexity. Things are (have always been) so much simpler there, and crueler. Last time I visited my grandmother I stood out behind her house and looked out over the expanse of cottonfields. The wind whipped an anguished sound from a farmhouse a half a mile or so away. Probably a pig slaughter, though I couldn't be sure. The cruelties are dealt out in equal measure with the vast spaces, the way you cut cold butter into flour to make biscuits.



(excerpt from The Penetrable Air)
As she made her way along the furrows, big clods of dirt broke under the soles of her sneakers. Finally she reached the spot where a rusty old thresher lay beside an irrigation ditch that bubbled like a spring. There was a stock tank, and bull rushes grew all around it. Here she was shielded from view, hidden in the tall grass with the crickets and frogs and bull snakes. And she listened. She just sat still and listened to the wind, trying to identify the call of a kingbird, or meadowlark, or a prairie hawk. If she sat there long enough, the whistling breeze in her ears would begin to seem like syllables of the language of clouds, and the spaces between her own cells and the sun and the sky and the wind would disappear, until all that remained was an awareness of vast space stretching out in all directions, occasionally interrupted by a lizard or nuthatch, lighting upon her.

Sometimes she imagined that she heard her mother's voice singing songs in a language she couldn't quite understand, but she knew that the song was about how time wraps itself around and bores into things, around hearts and tongues, and children. And how, if you open your mouth you can trade your own voice for the wind, until your tongue dries out and sand fills your eyesockets and you are blind.

After a while of sitting in that wide field, singing into the wind until her voice was hoarse, the harmonic of their dual howling would begin to sound like a train tunneling through her chest, into her heart, cracking her open and splitting her wide like a watermelon. The whole sky would swoosh in and fill her, stretch her wider and wider like a balloon until her cells were diluted by air and she would rise on a current of her own sound, and the sky would become a little speck inside of her.

Hours would pass. The sun would travel across the sky, scorching her skin and the field and all creation beneath its mean heat. And the clouds would flap out in the high winds like laundry, then disappear like all the things she loved most. She thinks about her horse and the last time she had seen him being loaded up in a trailer headed for some unknown and probably tragic destination. It was her fault if he had been led in terror through the concrete canals of the slaughterhouse. And her mother and Billy, whose blood was also on her hands. Lizzie looked up at the wide sky. The geese will soon begin to gather into their ragged Vs and fly north. Would they even want her if she suddenly sprouted wings? Would anyone, ever?

The crickets started chirping then, just as the sun dipped into the mirage of water at the edge of the field. Lizzie gathered herself back into what she thought was a human presence, though she was becoming less and less sure that she was human at all. She walked slowly back toward Mama Whitlow’s house. There was a combine in the far field in a cloud of dust. Swallows were swirling in arcs around the insects it churned in its path. Lizzie could see Mama Whitlow out in the garden with a dishtowel slung over her shoulder, picking tomatoes. She walked toward this one image, of a woman she knew but did not love, involved in an activity both mindful and meaningless, and knowing that she was walking toward the one fragile understanding of what it meant to live among men. Everything Lizzie understood was in this field, or in a house miles away that had long been shut away in darkness like a dream.

As she recognized the absurdity of her life, how she belonged nowhere, she began to leap the furrows in clownish steps, trying not to step on the peaks, bounding across the lumpy, dry field. It seemed like she leaped higher and higher, as if she weighed nothing—like she was walking on the moon that had just begun to rise over the summer corn. She felt the strange sensation of blood exiting her body in little gasps, and imagined that if the red drops fell into the field, a tree might grow there, and she would guard the sapling growth from all tractors, all men, until it was tall enough for her to climb into the sky and fly away.

Tuesday, February 5, 2008

the nothingness between me and the light




Shading the glass with a hand, I can
see how shadow has pooled in the valley. It washes up the sandstone
cliffs on Tinker Mountain and obliterates them in a deluge: freshets of
shadow leak into the sky…The shadow’s the thing. Outside shadows are
blue, I read, because they are lighted by the blue sky and not the
yellow sun. Their blueness bespeaks infinitesimal particles scattered
down inestimable distance…They give the light distance; they put it in
its place. They inform my eyes of my location here, O Israel, here in
the world’s flawed sculpture, here in the flickering shade of
nothingness between me and the light.
--Annie Dillard
Yes, it is Annie Dillard week. Each night before going to bed, I fall
in rhythm with her solitary explorations of Tinker Creek. Last night
she was collecting mantis eggs, reporting on the mating ritual, and the
memory of a tragic mutation of a Polyphemous moth at the hands of an
ignorant but perhaps well-meaning teacher.

Today a juvenile possum was out at midday on the balcony of Battle
Hall. Campus Safety officers were poised with long nets in what seemed
a futile attempt to capture the wary creature. People gathered, took
pictures. In class minutes later, we realized that the balcony in
question was actually the bathroom at the end of the hall, and various
students gathered to watch the pathetic drama from a better vantage
point. I returned to class intensely sad. The ripples of laughter and
jokes about how ugly possums are made me feel even more disconnected
from my so-called cohort (we were discussing cohort-component analysis
today). Many times I contrasted in my mind Dillard's silent, solitary
walks with the unhinged and un-self-conscious laugher of being almost thirty. I can never go back. Some part of me already resides in semi-retirement, among waving
prairie grasses, fussily watching over lupine seeds and the ceaseless
manufacturing of spider webs.

I went to the woods because I wished to live deliberately, to front only the essential facts of life,
and see if I could not learn what it had to teach, and not, when I came
to die, to discover that I had not lived. I did not wish to live what
was not life, living is so dear; nor did I wish to practice
resignation, unless it was quite necessary. I wanted to live deep and
suck out all the marrow of life, to live so sturdily and Spartan-like
as to put to rout all that was not life, to cut a broad swath and shave
close, to drive life into a corner, and reduce it to its lowest terms,
and, if it proved to be mean, why then to get the whole and genuine
meanness of it, and publish its meanness to the world; or if it were
sublime, to know it by experience, and to be able to give a true
account of it in my next excursion.


Walden or Life in the Woods
- Henry David Thoreau (1817 – 1862