175 Quotes & Sayings By Annie Dillard

Annie Dillard is the author of four novels, most recently Pilgrim at Tinker Creek (2008), which won the PEN/Faulkner Award for Fiction. A fifth novel, An American Childhood, is forthcoming in 2010. Dillard has also published several nonfiction books, including The Maytrees (1994), Dear Life (2000) and Teaching a Stone to Talk (2006). She was awarded the Pulitzer Prize for General Nonfiction in 1987 for An American Childhood Read more

How we spend our days is, of course, how we...
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How we spend our days is, of course, how we spend our lives. Annie Dillard
Spend the afternoon, you can't take it with you.
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Spend the afternoon, you can't take it with you. Annie Dillard
You do not have to sit outside in the dark....
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You do not have to sit outside in the dark. If, however, you want to look at the stars, you will find that darkness is necessary. But the stars neither require nor demand it. Annie Dillard
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Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow? Annie Dillard
Eskimo:
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Eskimo: "If I did not know about God and sin, would I go to hell?" Priest: "No, not if you did not know." Eskimo: "Then why did you tell me? Annie Dillard
The soul may ask God for anything, and never fail.
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The soul may ask God for anything, and never fail. Annie Dillard
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The mountains are great stone bells; they clang together like nuns. Who shushed the stars? There are a thousand million galaxies easily seen in the Palomar reflector; collisions between and among them do, of course, occur. But these collisions are very long and silent slides. Billions of stars sift amont each other untouched, too distant even to be moved, heedless as always, hushed. The sea pronounces something, over and over, in a hoarse whisper; I cannot quite make it out. But God knows I have tried. Annie Dillard
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What have we been doing all these centuries but trying to call God back to the mountain, or, failing that, raise a peep out of anything that isn't us? What is the difference between a cathedral and a physics lab? Are not they both saying: Hello? We spy on whales and on interstellar radio objects; we starve ourselves and pray till we're blue. Annie Dillard
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We are here to witness. There is nothing else to do with those mute materials we do not need. Until Larry teaches his stone to talk, until God changes his mind, or until the pagan gods slip back to their hilltop groves, all we can do with the whole inhuman array is watch it. Annie Dillard
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The world is fairly studded and strewn with pennies cast broadside by a generous hand. But- and this is the point- who gets excited by a mere penny? But if you cultivate a healthy poverty and simplicity, so that finding a penny will literally make your day, then, since the world is in fact planted in pennies, you have with your poverty bought a lifetime of days. Annie Dillard
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There are 1, 198, 500, 000 people alive now in China. To get a feel for what that means, simply take yourself - in all your singularity, importance, complexity, and love - and multiply by 1, 198, 500, 000. See? Nothing to it. Annie Dillard
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At the time of Lewis and Clark, setting the prairies on fire was a well-known signal that meant, ‘Come down to the water.’ It was an extravagant gesture, but we can’t do less. If the landscape reveals one certainty, it is that the extravagant gesture is the very stuff of creation. After the extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look, I see fire: that which isn’t flint is tinder, and the whole world sparks and flames. Annie Dillard
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Those of us who read carried around with us like martyrs a secret knowledge, a secret joy and a secret hope: There is a life worth living where history is still taking place; there are ideas worth dying for, and circumstances where courage is still prized. Annie Dillard
Knowing you are alive is watching on every side your...
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Knowing you are alive is watching on every side your generation's short time falling away as fast as rivers drop through air, and feeling it hit. Annie Dillard
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If you ask a twenty-one-year-old poet whose poetry he likes, he might say, unblushing, "Nobody's, " In his youth, he has not yet understood that poets like poetry, and novelists like novels; he himself likes only the role, the thought of himself in a hat. Annie Dillard
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Say you could view a time lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by widening lead. Mountains burst up, jutting, and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up- mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life. Annie Dillard
The secret is not to write about what you love...
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The secret is not to write about what you love best, but about what you, alone, love at all. Annie Dillard
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Why are we reading, if not in hope of beauty laid bare, life heightened and its deepest mystery probed? Can the writer isolate and vivify all in experience that most deeply engages our intellects and our heats? Can the writer renew our hope for literary forms? Why are we reading if not in hope that the writer will magnify and dramatize our days, will illuminate and inspire us with wisdom, courage, and the possibility of meaningfulness, and will press upon our minds the deepest mysteries, so we may feel again their majesty and power? . Annie Dillard
For writing a first draft requires from the writer a...
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For writing a first draft requires from the writer a peculiar internal state which ordinary life does not induce.... how to set yourself spinning? Annie Dillard
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There is neither a proportional relationship, nor an inverse one, between a writer’s estimation of a work in progress & its actual quality. The feeling that the work is magnificent, & the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged. Annie Dillard
Get to work. Your work is to keep cranking the...
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Get to work. Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair. Annie Dillard
So it is that a writer writes many books. In...
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So it is that a writer writes many books. In each book, he intended several urgent and vivid points, many of which he sacrificed as the book's form hardened. Annie Dillard
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We teach our children one thing only, as we were taught: to wake up. We teach our children to look alive there, to join by words and activities the life of human culture on this planet's crust. As adults we are almost all adept at waking up. We have so mastered the transition we make a hundred times a day, as, like so many will-less dolphins, we plunge and surface, lapse and emerge. We live half our waking lives and all of our sleeping lives in some private, useless, and insensible waters we never mention or recall. Useless, I say. Valueless, I might add – until someone hauls their wealth up to the surface and into the wide-awake city, in a form that people can use. . Annie Dillard
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I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books .. . so that a reader may study the work with pleasure as well as the world that it describes. Annie Dillard
At night on land migrating monarchs slumber on certain trees,...
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At night on land migrating monarchs slumber on certain trees, hung in festoons with wings folded together, thick on the trees and shaggy as bearskin. [p. 244] Annie Dillard
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It has always been a happy thought to me that the creek runs on all night, new every minute, whether I wish it or know it or care, as a closed book on a shelf continues to whisper to itself its own inexhaustible tale. So many things have been shown so to me on these banks, so much light has illumined me by reflection here where the water comes down, that I can hardly believe that this grace never flags, that the pouring from ever-renewable sources is endless, impartial, and free. Annie Dillard
If I did not know about God and sin, would...
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If I did not know about God and sin, would I go to hell?" "No", said the priest, "not if you did not know." "Then why, " asked the Eskimo earnestly, "did you tell me? Annie Dillard
What is the difference between a cathedral and a physics...
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What is the difference between a cathedral and a physics lab? Are not they both saying: Hello? We spy on whales and on interstellar radio objects we starve ourselves and pray till we're blue. Annie Dillard
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You can live as a particle crashing about and colliding in a welter of materials with god, or you can live as a particle crashing about and colliding in a welter of materials without god. But you cannot live outside the welter of colliding materials. Annie Dillard
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I am no scientist. I explore the neighbourhood. An infant who has just learned to hold his head up has a frank and forthright way of gazing about him in bewilderment. He hasn't the faintest clue where he is, and he aims to learn. In a couple of years, what he will have learned instead is how to fake it: he'll have the cocksure air of a squatter who has come to feel he owns the place. Some unwonted, taught pride diverts us from our original intent, which is to explore the neighbourhood, view the landscape, to discover at least WHERE it is that we have been so startlingly set down, if we can't learn why. Annie Dillard
Under her high brows, she eyed him straight on and...
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Under her high brows, she eyed him straight on and straight across. She had gone to girls' schools, he recalled later. Those girls looked straight at you. Annie Dillard
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She is nine, beloved, as open-faced as the sky and as self-contained. I have watched her grow. As recently as three or four years ago, she had a young child's perfectly shallow receptiveness; she fitted into the world of time, it fitted into her, as thoughtlessly as sky fits its edges, or a river its banks. But as she has grown, her smile has widened with a touch of fear and her glance has taken on depth. Now she is aware of some of the losses you incur by being here--the extortionary rent you have to pay as long as you stay. Annie Dillard
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In the deeps are the violence and terror of which psychology has warned us. But if you ride these monsters deeper down, if you drop with them farther over the world's rim, you find what our sciences cannot locate or name, the substrate, the ocean or matrix or ether which buoys the rest, which gives goodness its power for good, and evil its power for evil, the unified field: our complex and inexplicable caring for each other, and for our life together here. This is given. It is not learned. . Annie Dillard
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I am sitting under a sycamore by Tinker Creek. I am really here, alive on the intricate earth under trees. But under me, directly under the weight of my body on the grass, are other creatures, just as real, for whom also this moment, this tree, is “it”… in the top inch of soil, biologists found “an average of 1, 356 living creatures in each square foot… I might as well include these creatures in this moment, as best as I can. My ignoring them won’t strip them of their reality, and admitting them, one by one, into my consciousness might heighten mine, might add their dim awareness to my human consciousness, such as it is, and set up a buzz, a vibration… Hasidism has a tradition that one of man’s purposes is to assist God in the work of “hallowing” the things of Creation. By a tremendous heave of the spirit, the devout man frees the divine sparks trapped in the mute things of time; he uplifts the forms and moments of creation, bearing them aloft into the rare air and hallowing fire in which all clays must shatter and burst. Annie Dillard
I think science works the way a tightrope walker works:...
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I think science works the way a tightrope walker works: by not looking at its feet. As soon as it looks at its feet, it realizes its operating in midair. Annie Dillard
She read books as one would breathe air, to fill...
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She read books as one would breathe air, to fill up and live. Annie Dillard
She read books as one would breathe air, to fill...
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She read books as one would breathe air, to fill up and live. She read books as one would breathe ether, to sink in and die. Annie Dillard
Books swept me away, this way and that, one after...
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Books swept me away, this way and that, one after the other; I made endless vows according to their lights for I believed them. Annie Dillard
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It has always been a happy thought to me that the creek runs on all night, new every minute, whether I wish it or know it or care, as a closed book on a shelf continues to whisper to itself its own inexhaustible tale. Annie Dillard
Private life, book life, took place where words met imagination...
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Private life, book life, took place where words met imagination without passing through the world. Annie Dillard
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Thomas Merton wrote, “there is always a temptation to diddle around in the contemplative life, making itsy-bitsy statues.” There is always an enormous temptation in all of life to diddle around making itsy-bitsy friends and meals and journeys for itsy-bitsy years on end. It is so self-conscious, so apparently moral, simply to step aside from the gaps where the creeks and winds pour down, saying, I never merited this grace, quite rightly, and then to sulk along the rest of your days on the edge of rage. I won’t have it. The world is wilder than that in all directions, more dangerous and bitter, more extravagant and bright. We are making hay when we should be making whoopee; we are raising tomatoes when we should be raising Cain, or Lazarus.Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock-more than a maple- a universe. This is how you spend this afternoon, and tomorrow morning, and tomorrow afternoon. Spend the afternoon. You can’t take it with you. Annie Dillard
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Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek. Annie Dillard
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What I aim to do is not so much learn the names of the shreds of creation that flourish in this valley, but to keep myself open to their meanings, which is to try to impress myself at all times with the fullest possible force of their very reality. I want to have things as multiply and intricately as possible present and visible in my mind. Then I might be able to sit on the hill by the burnt books where the starlings fly over, and see not only the starlings, the grass field, the quarried rock, the viney woods, Hollins pond, and the mountains beyond, but also, and simultaneously, feathers’ barbs, springtails in the soil, crystal in rock, chloroplasts streaming, rotifers pulsing, and the shape of the air in the pines. And, if I try to keep my eye on quantum physics, if I try to keep up with astronomy and cosmology, and really believe it all, I might ultimately be able to make out the landscape of the universe. Why not? . Annie Dillard
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The gaps are the thing. The gaps are the spirit's one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself like a once-blind man unbound. The gaps are the clefts in the rock where you cower to see the back parts of God; they are fissures between mountains and cells the wind lances through, the icy narrowing fiords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock–more than a maple–universe. . Annie Dillard
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When her doctor took her bandages off and led her into the garden, the girl who was no longer blind saw “the tree with the lights in it.” It was for this tree I searched through the peach orchards of summer, in the forests of fall and down winter and spring for years. Then one day I was walking along Tinker creek and thinking of nothing at all and I saw the tree with the lights in it. I saw the backyard cedar where the mourning doves roost charged and transfigured, each cell buzzing with flame. I stood on the grass with the lights in it, grass that was wholly fire, utterly focused and utterly dreamed. It was less like seeing that like being for the first time see, knocked breathless by a powerful glance. The flood of fire abated, but I’m still spending the power. Gradually the lights went out in the cedar, the colors died, the cells un-flamed and disappeared. I was still ringing. I had been my whole life a bell and never knew it until at that moment I was lifted and struck. I have since only very rarely seen the tree with the lights in it. The vision comes and goes, mostly goes, but I live for it, for the moment the mountains open and a new light roars in spate through the crack, and the mountains slam. Annie Dillard
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Cruelty is a mystery, and the waste of pain. But if we describe a world to compass these things, a world that is a long, brute game, then we bump against another mystery: the inrush of power and light…unless all ages and races of men have been deluded by the same mass hypnotist (who?), there seems to be such a thing as beauty, a grace wholly gratuitous…we don’t know what’s going on here. If these tremendous events are random combinations of matter run amok, the yield of millions of monkeys at millions of typewriters, then what is it in us, hammered out of those same typewriters, that they ignite? We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise. . Annie Dillard
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You cannot mend the chromosome, quell the earthquake, or stanch the flood. You cannot atone for the dead tyrants’ murders and you alone cannot stop living tyrants. As Martin Buber saw it, the world of ordinary days “affords” us that precise association with god that redeems both us and our speck of world. God entrusts and allots to everyone an area to redeem: this creased and feeble life, “the world in which you live, just as it is, and not otherwise.” “Insofar as he cultivates and enjoys them in holiness, he frees their souls…he who prays and sings in holiness, eats and speaks in holiness…through him the sparks which have fallen will be uplifted, and the worlds which have fallen will be delivered and renewed. . Annie Dillard
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The secret of seeing is, then the pearl of great price. If I thought he could teach me to find it and keep it forever I would stagger barefoot across a hundred deserts after any lunatic at all. But although the pearl may be found, it may not be sought. The literature of illumination reveals this above all: although it comes to those who wait for it, it is always, even to the most practiced and adept, a gift and a total surprise. I return from one walk knowing where the killdeer nests in the field by the creek and the hour the laurel blooms. I return form the same walk a day later scarcely knowing my own name. Litanies hum in my ears; my tongue flaps in my mouth. Ailinon, alleluia! . Annie Dillard
I am a fugitive and a vagabond, a sojourner seeking...
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I am a fugitive and a vagabond, a sojourner seeking signs. Annie Dillard
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I am a sacrifice bound with cords to the horns of the world's rock altar, waiting for worms. I take a deep breath, I open my eyes. Looking, I see there are worms in the horns of the altar like live maggots in amber, there are shells of worms in the rock and moths flapping at my eyes. A wind from no place rises. A sense of the real exults me; the cords loosen: I walk on my way. Annie Dillard
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Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep black space high up among many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of the dots. At length, I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at the very moment with great emotion, in intricate detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which whole worlds of feeling and energy were wrapped, in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water… I saw may apples in forest, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided and apples grew striped and spotted in the fall. Mountains kept their cool caves, and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wilds ducks flew, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remembered the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “Yes, that’s how it was then, that part there we called ‘France’”. I was filled with the deep affection of nostalgia- and then I opened my eyes. Annie Dillard
Beauty and grace are performed whether or not we will...
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Beauty and grace are performed whether or not we will or sense them. The least we can do is try to be there. Annie Dillard
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A kind of northing is what I wish to accomplish, a single-minded trek towards that place where any shutter left open to the zenith at night will record the wheeling of all the sky’s stars as a pattern of perfect, concentric circles. I seek a reduction, a shedding, a sloughing off. At the seashore you often see a shell, or fragment of a shell, that sharp sands and surf have thinned to a wisp. There is no way you can tell what kind of shell it had been, what creature it had housed; it could have been a whelk or a scallop, a cowrie, limpet, or conch. The animal is long since dissolved, and its blood spread and thinned in the general sea. All you hold in your hand is a cool shred of shell, an inch long, pared so thin that it passes a faint pink light. It is an essence, a smooth condensation of the air, a curve. I long for the North where unimpeded winds would hone me to such a pure slip of bone. But I’ll not go northing this year. I’ll stalk that floating pole and frigid air by waiting here. I wait on bridges; I wait, struck, on forest paths and meadow’s fringes, hilltops and banksides, day in and day out, and I receive a southing as a gift. The North washes down the mountains like a waterfall, like a tidal wave, and pours across the valley; it comes to me. It sweetens the persimmons and numbs the last of the crickets and hornets; it fans the flames of the forest maples, bows the meadow’s seeded grasses and pokes it chilling fingers under the leaf litter, thrusting the springtails and the earthworms deeper into the earth. The sun heaves to the south by day, and at night wild Orion emerges looming like the Specter over Dead Man Mountain. Something is already here, and more is coming. Annie Dillard
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I have often noticed that these things, which obsess me, neither bother nor impress other people even slightly. I am horribly apt to approach some innocent at a gathering, and like the ancient mariner, fix him with a wild, glitt’ring eye and say, “Do you know that in the head of the caterpillar of the ordinary goat moth there are two hundred twenty-eight separate muscles?” The poor wretch flees. I am not making chatter; I mean to change his life. Annie Dillard
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All at once, something wonderful happened, although at first, it seemed perfectly ordinary. A female goldfinch suddenly hove into view. She lighted weightlessly on the head of a bankside purple thistle and began emptying the seedcase, sowing the air with down. The lighted frame of my window filled. The down rose and spread in all directions, wafting over the dam’s waterfall and wavering between the tulip trunks and into the meadow. It vaulted towards the orchard in a puff; it hovered over the ripening pawpaw fruit and staggered up the steep faced terrace. It jerked, floated, rolled, veered, swayed. The thistle down faltered down toward the cottage and gusted clear to the woods; it rose and entered the shaggy arms of pecans. At last it strayed like snow, blind and sweet, into the pool of the creek upstream, and into the race of the creek over rocks down. It shuddered onto the tips of growing grasses, where it poised, light, still wracked by errant quivers. I was holding my breath. Is this where we live, I thought, in this place in this moment, with the air so light and wild? The same fixity that collapses stars and drives the mantis to devour her mate eased these creatures together before my eyes: the thick adept bill of the goldfinch, and the feathery coded down. How could anything be amiss? If I myself were lighter and frayed, I could ride these small winds, too, taking my chances, for the pleasure of being so purely played. The thistle is part of Adam’s curse. “Cursed is the ground for thy sake, in sorrow shalt thou eat of it; thorns also and thistles shall it bring forth to thee.” A terrible curse: But does the goldfinch eat thorny sorrow with the thistle or do I? If this furling air is fallen, then the fall was happy indeed. If this creekside garden is sorrow, then I seek martyrdom. I was weightless; my bones were taut skins blown with buoyant gas; it seemed that if I inhaled too deeply, my shoulders and head would waft off. Alleluia. . Annie Dillard
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Today is the winter solstice. The planet tilts just so to its star, lists and holds circling in a fixed tension between veering and longing, and spins helpless, exalted, in and out of that fleet blazing touch. Last night Orion vaulted and spread all over the sky, pagan and lunatic, his shoulder and knee on fire, his sword three suns at the ready-for what? I won’t see this year again, not again so innocent; and longing wrapped round my throat like a scarf. “For the Heavenly Father desires that we should see, ” says Ruysbroeck, “and that is why He is ever saying to our inmost spirit one deep unfathomable word and nothing else.” But what is the word? Is this mystery or coyness? A cast-iron bell hung from the arch of my rib cage; when I stirred, it rang, or it tolled, a long syllable pulsing ripples up my lungs and down the gritty sap inside my bones, and I couldn’t make it out; I felt the voiced vowel like a sigh or a note but I couldn’t catch the consonant that shaped it into sense. . Annie Dillard
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It is winter proper; the cold weather, such as it is, has come to stay. I bloom indoors in the winter like a forced forsythia; I come in to come out. At night I read and write, and things I have never understood become clear; I reap the harvest of the rest of the year’s planting. The woods are acres of sticks: I could walk to the Gulf of Mexico in a straight line. When the leaves fall, the striptease is over; things stand mute and revealed. Everywhere skies extend, vistas deepen, walls become windows, doors open. Annie Dillard
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In the forty minutes I watched the muskrat, he never saw me, smelled me, or heard me at all. When he was in full view of course I never moved except to breathe. My eyes would move, too, following his, but he never noticed. Only once, when he was feeding from the opposite bank about eight feet away did he suddenly rise upright, all alert- and then he immediately resumed foraging. But he never knew I was there. I never knew I was there, either. For that forty minutes last night I was as purely sensitive and mute as a photographic plate; I received impressions, but I did not print out captions. My own self-awareness had disappeared; it seems now almost as though, had I been wired to electrodes, my EEG would have been flat. I have done this sort of thing so often that I have lost self-consciousness about moving slowly and halting suddenly. And I have often noticed that even a few minutes of this self-forgetfulness is tremendously invigorating. I wonder if we do not waste most of our energy just by spending every waking minute saying hello to ourselves. Martin Buber quotes an old Hasid master who said, “When you walk across the field with your mind pure and holy, then from all the stones, and all growing things, and all animals, the sparks of their souls come out and cling to you, and then they are purified and become a holy fire in you. Annie Dillard
59
The color-patches of vision part, shift, and reform as I move through space in time. The present is the object of vision, and what I see before me at any given second is a full field of color patches scattered just so. The configuration will never be repeated. Living is moving; time is a live creek bearing changing lights. As I move, or as the world moves around me, the fullness of what I see shatters. “Last forever! ” Who hasn’t prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying; it is a canvas, nevertheless. But there is more to the present than a series of snapshots. We are not merely sensitized film; we have feelings, a memory for information and an eidetic memory for the imagery of our pasts. Our layered consciousness is a tiered track for an unmatched assortment of concentrically wound reels. Each one plays out for all of life its dazzle and blur of translucent shadow-pictures; each one hums at every moment its own secret melody in its own unique key. We tune in and out. But moments are not lost. Time out of mind is time nevertheless, cumulative, informing the present. From even the deepest slumber you wake with a jolt- older, closer to death, and wiser, grateful for breath. But time is the one thing we have been given, and we have been given to time. Time gives us a whirl. We keep waking from a dream we can’t recall, looking around in surprise, and lapsing back, for years on end. All I want to do is stay awake, keep my head up, prop my eyes open, with toothpicks, with trees. Annie Dillard
60
Xerxes, I read, ‘halted his unwieldy army for days that he might contemplate to his satisfaction’ the beauty of a single sycamore. You are Xerxes in Persia. Your army spreads on a vast and arid peneplain…you call to you all your sad captains, and give the order to halt. You have seen the tree with the lights in it, haven’t you? You must have. Xerxes buffeted on a plain, ambition drained in a puff. Your men are bewildered…there is nothing to catch the eye in this flatness, nothing but a hollow, hammering sky, a waste of sedge in the lee of windblown rocks, a meager ribbon of scrub willow tracing a slumbering watercourse…and that sycamore. You saw it; you will stand rapt and mute, exalted, remembering or not remembering over a period of days to shade your head with your robe. “He had its form wrought upon a medal of gold to help him remember it the rest of his life.” We all ought to have a goldsmith following us around. But it goes without saying, doesn’t it, Xerxes, that no gold medal worn around your neck will bring back the glad hour, keep those lights kindled so long as you live, forever present? Pascal saw it; he grabbed pen and paper and scrawled the one word, and wore it sewn in his shirt the rest of his life. I don’t know what Pascal saw. I saw a cedar. Xerxes saw a sycamore. Annie Dillard
61
And under the cicadas, deeper down that the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there, minutely at a rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass; earth shall be moved. What else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet, the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger; feel the now. Spring is seeping north, towards me and away from me, at sixteen miles a day. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain is eroding one thousandth of an inch a year. The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. And where are you now? . Annie Dillard
62
I want to think about trees. Trees have a curious relationship to the subject of the present moment. There are many created things in the universe that outlive us, that outlive the sun, even, but I can’t think about them. I live with trees. There are creatures under our feet, creatures that live over our heads, but trees live quite convincingly in the same filament of air we inhabit, and in addition, they extend impressively in both directions, up and down, shearing rock and fanning air, doing their real business just out of reach. Annie Dillard
63
You are God. You want to make a forest, something to hold the soil, lock up energy, and give off oxygen. Wouldn’t it be simpler just to rough in a slab of chemicals, a green acre of goo? You are a man, a retired railroad worker who makes replicas as a hobby. You decide to make a replica of one tree, the longleaf pine your great-grandfather planted- just a replica- it doesn’t have to work. How are you going to do it? How long do you think you might live, how good is your glue? For one thing, you are going to have to dig a hole and stick your replica trunk halfway to China if you want the thing to stand up. Because you will have to work fairly big; if your replica is too small, you’ll be unable to handle the slender, three-sided needles, affix them in clusters of three in fascicles, and attach those laden fascicles to flexible twigs. The twigs themselves must be covered by “many silvery-white, fringed, long-spreading scales.” Are your pine cones’ scales “thin, flat, rounded at the apex?” When you loose the lashed copper wire trussing the limbs to the trunk, the whole tree collapses like an umbrella. You are a sculptor. You climb a great ladder; you pour grease all over a growing longleaf pine. Next, you build a hollow cylinder around the entire pine…and pour wet plaster over and inside the pine. Now open the walls, split the plaster, saw down the tree, remove it, discard, and your intricate sculpture is ready: this is the shape of part of the air. You are a chloroplast moving in water heaved one hundred feet above ground. Hydrogen, carbon, oxygen, nitrogen in a ring around magnesium…you are evolution; you have only begun to make trees. You are god- are you tired? Finished?. Annie Dillard
64
Shadow is the blue patch where the light doesn’t hit. It is mystery itself, and mystery is the ancients’ ultima Thule, the modern explorer’s Point of Relative Inaccessibility, that boreal point most distant from all known lands. There the twin oceans of beauty and horror meet. The great glaciers are calving. Ice that sifted to earth as snow in the time of Christ shears from the pack with a roar and crumbles to water. It could be that our instruments have not looked deeply enough. The RNA deep in the mantis’s jaw is a beautiful ribbon. Did the crawling Polyphemus moth have in its watery heart one cell, and in that cell one special molecule, and that molecule one hydrogen atom, and round that atom’s nucleus one wild, distant electron that split showed a forest, swaying? . Annie Dillard
65
I was in no tent under leaves, sleepless and glad. There was no moon at all; along the world’s coasts the sea tides would be springing strong. The air itself also has lunar tides; I lay still. Could I feel in the air an invisible sweep and surge, and an answering knock in the lungs? Or could I feel the starlight? Every minute on a square mile of this land one ten thousandth of an ounce of starlight spatters to earth. What percentage of an ounce did that make on my eyes and cheeks and arms, tapping and nudging as particles, pulsing and stroking as waves? . Annie Dillard
66
It looked as though the leaves of the autumn forest had taken flight, and were pouring down the valley like a waterfall, like a tidal wave, all the leaves of the hardwoods from here to Hudson’s Bay. It was as if the season’s colors were draining away like lifeblood, as if the year were molting and shedding. The year was rolling down, and a vital curve had been reached, the tilt that gives way to headlong rush. And when the monarch butterflies had passed and were gone, the skies were vacant, the air poised. The dark night into which the year was plunging was not a sleep but an awakening, a new and necessary austerity, the sparer climate for which I longed. The shed trees were brittle and still, the creek light and cold, and my spirit holding its breath. Annie Dillard
67
Those people who shoot endless time-lapse films of unfurling roses and tulips have the wrong idea. They should train their cameras instead on the melting of pack ice, the green filling of ponds, the tidal swings… They should film the glaciers of Greenland, some of which creak along at such a fast clip that even the dogs bark at them. They should film the invasion of the southernmost Canadian tundra by the northernmost spruce-fir forest, which is happening right now at the rate of a mile every 10 years. When the last ice sheet receded from the North American continent, the earth rebounded 10 feet. Wouldn’t that have been a sight to see? . Annie Dillard
68
Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life. Annie Dillard
69
In the great meteor shower of August, the Perseid, I wail all day for the shooting stars I miss. They’re out there showering down, committing hari-kiri in a flame of fatal attraction, and hissing perhaps into the ocean. But at dawn what looks like a blue dome clamps down over me like a lid on a pot. The stars and planets could smash and I’d never know. Only a piece of ashen moon occasionally climbs up or down the inside of the dome, and our local star without surcease explodes on our heads. We have really only that one light, one source for all power, and yet we must turn away from it by universal decree. Nobody here on the planet seems aware of that strange, powerful taboo, that we all walk about carefully averting our faces, this way and that, lest our eyes be blasted forever. . Annie Dillard
70
Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep blank space high up above many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of dots. At length I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at that very moment with great emotion, in intricate, detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which wholly worlds of feeling and energy were wrapped in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water. I saw white-faced cattle lowing and wading in creeks. I saw May apples in forests, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided, and apples grew spotted and striped in the fall. Mountains kept their cool caves and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wild ducks flew with outstretched necks, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remember the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “yes, that’s how it was then, that part there was called France.” I was filled with the deep affection of nostalgia- and then I opened my eyes. We all ought to be able to conjure up sights like these at will, so that we can keep in mind the scope of texture’s motion in time. Annie Dillard
71
An anchorite’s hermitage is called an anchor-hold; some anchor-holds were simple sheds clamped to the side of a church like a barnacle to a rock. I think of this house clamped to the side of Tinker Creek as an anchor-hold. It holds me at anchor to the rock bottom of the creek itself and keeps me steadied in the current, as a sea anchor does, facing the stream of light pouring down. It’s a good place to live; there’s a lot to think about. The creeks are an active mystery, fresh every minute. Theirs is the mystery of the continuous creation and all that providence implies: the uncertainty of vision, the horror of the fixed, the dissolution of the present, the intricacy of beauty, the pressure of fecundity, the elusiveness of the free, and the flawed nature of perfection. The mountains are a passive mystery, the oldest of them all. Theirs is the simple mystery of creation from nothing, of matter itself, anything at all, the given. Mountains are giant, restful, absorbent. You can heave your spirit into a mountain and the mountain will keep it, folded, and not throw it back as some creeks will. The creeks are the world with all its stimulus and beauty; I live there. But the mountains are home. Annie Dillard
72
Were the earth as smooth as a ball bearing, it might be beautiful seen from another planet, as the rings of Saturn are. But here we live and move; we wander up and down the banks of the creek, we ride a railway through the Alps, and the landscape shifts and changes. Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture and lapse into dreamless sleep. Because we are living people, and because we are on the receiving end of beauty, another element necessarily enters the question. The texture of space is a condition of time. Time is the warp and matter the weft of woven texture of beauty in space, and death is the hurtling shuttle… What I want to do, then, is add time to the texture, paint the landscape on an unrolling scroll, and set the giant relief globe spinning on it stand. Annie Dillard
73
Our life is a faint tracing on the surface of mystery. The surface of mystery is not smooth, any more than the planet is smooth; not even a single hydrogen atom is smooth, let alone a pine. Nor does it fit together; not even the chlorophyll and hemoglobin molecules are a perfect match, for, even after the atom of iron replaces the magnesium, long streamers of disparate atoms trail disjointedly from the rims of the molecule’s loops. Freedom cuts both ways. Mystery itself is as fringed and intricate at the shape of the air at times. Forays into mystery cut bays and fine fjords, but the forested mainland itself is implacable both in its bulk and in its most filigreed fringe of detail. Annie Dillard
74
I am sitting here, you are sitting there. Say even that you are sitting across the kitchen table from me right now. Our eyes meet; a consciousness snaps back and forth. What we know, at least for starters, is: here we- so incontrovertibly- are. This is our life, these are our lighted seasons, and then we die. In the meantime, in between time, we can see. The scales are fallen from our eyes, the cataracts are cut away, and we can work at making sense of the color-patches we see in an effort to discover where we so incontrovertibly are. I am as passionately interested in where I am as is a lone sailor sans sextant in a ketch on an open ocean. I have at the moment a situation which allows me to devote considerable hunks of time to seeing what I can see, and trying to piece it together. I’ve learned the name of some color-patches, but not the meanings. I’ve read books; I’ve gathered statistics feverishly: the average temperature of our planet is 57 degrees F…The average size of all living animals, including man, is almost that of a housefly. The earth is mostly granite, which is mostly oxygen… In these Appalachians we have found a coal bed with 120 seams, meaning 120 forests that just happened to fall into water… I would like to see it all, to understand it, but I must start somewhere, so I try to deal with the giant water bug in Tinker Creek and the flight of three hundred redwings from an Osage orange and let those who dare worry about the birthrate and population explosion among solar systems. So I think about the valley. And it occurs to me more and more that everything I have seen is wholly gratuitous. The giant water bug’s predations, the frog’s croak, the tree with the lights in it are not in any real sense necessary per se to the world or its creator. Nor am I. The creation in the first place, being itself, is the only necessity for which I would die, and I shall. The point about that being, as I know it here and see it, is that as I think about it, it accumulates in my mind as an extravagance of minutiae. The sheer fringe and network of detail assumes primary importance. That there are so many details seems to be the most important and visible fact about creation. If you can’t see the forest for the trees, then look at the trees; when you’ve looked at enough trees, you’ve seen a forest, you’ve got it. If the world is gratuitous, then the fringe of a goldfish’s fin is a million times more so. The first question- the one crucial one- of the creation of the universe and the existence of something as a sign and an affront to nothing is a blank one… The old Kabbalistic phrase is “the Mystery of the Splintering of the Vessels.” The words refer to the shrinking or imprisonment of essences within the various husk-covered forms of emanation or time. The Vessels splintered and solar systems spun; ciliated rotifers whirled in still water, and newts laid tracks in the silt-bottomed creek. Not only did the Vessels splinter; they splintered exceeding fine. Intricacy then is the subject, the intricacy of the created world. Annie Dillard
75
The remarkable thing about the world of insects, however, is precisely that there is no veil cast over these horrors. These are mysteries performed in broad daylight before our very eyes; we can see every detail, and yet they are still mysteries. If, as Heraclitus suggests, god, like an oracle, neither “declares nor hides, but sets forth by signs, ” then clearly I had better be scrying the signs. The earth devotes an overwhelming proportion of its energy to these buzzings and leaps in the grass. Theirs is the biggest wedge of the pie: Why? I ought to keep a giant water bug in an aquarium on my dresser, so I can think about it. Annie Dillard
76
Yesterday I watched a curious nightfall. The cloud ceiling took on a warm tone, deepened, and departed as if drawn on a leash. I could no longer see the fat snow flying against the sky; I could see it only as it fell before dark objects. Any object at a distance —like the dead, ivy-covered walnut I see from the bay window- looked like a black and white frontispiece seen through a sheet of white tissue. It was like dying, this watching the world recede into deeper and deeper blues while the snow piled; silence swelled and extended, distance dissolved, and soon only concentration at the largest shadows let me make out the movement of falling snow, and that too failed. The snow on the yard was blue as ink, faintly luminous; the sky violet. The bay window betrayed me, and started giving me back the room’s lamps. It was like dying, that growing dimmer and deeper and then going out. Annie Dillard
77
Oh, it’s mysterious lamplit evenings, here in the galaxy, one after the other. It’s one of those nights when I wander from window to window, looking for a sign. But I can’t see. Terror and a beauty insoluble are a ribband of blue woven into the fringes of garments of things both great and small. No culture explains, no bivouac offers real haven or rest. But it could be that we are not seeing something. Galileo thought that comets were an optical illusion. This is fertile ground: since we are certain that they’re not, we can look at what scientists are saying with fresh hope. What if there are really gleaming castellated cities hung upside-down over the desert sand? What limpid lakes and cool date palms have our caravans passed untried? Until, one by one, by the blindest of leaps, we light on the road to these places, we must stumble in darkness and hunger. Annie Dillard
79
Love so sprang at her, she honestly thought no one had ever looked into it. Where was it in literature? Someone would have written something. She must not have recognized it. Time to read everything again. Annie Dillard
80
Is it not late? A late time to be living? Are not our generations the crucial ones? For we have changed the world. Are not our heightened times the important ones? For we have nuclear bombs. Are we not especially significant because our century is? - our century and its unique Holocaust, its refugee populations, its serial totalitarian exterminations; our century and its antibiotics, silicon chips, men on the moon, and spliced genes? No, we are not and it is not. These times of ours are ordinary times, a slice of life like any other. Who can bear to hear this, or who will consider it?.. Take away the bomb threat and what are we? Ordinary beads on a never-ending string. Our time is a routine twist of an improbable yarn.. There must be something heroic about our time, something that lifts it above all those other times. Plague? Funny weather? Dire things are happening.. Why are we watching the news, reading the news, keeping up with the news? Only to enforce our fancy - probably a necessary lie - that these are crucial times, and we are in on them. Newly revealed, and we are in the know: crazy people, bunches of them. New diseases, shifts in power, floods! Can the news from dynastic Egypt have been any different? . Annie Dillard
81
I am a frayed and nibbled survivor in a fallen world, and I am getting along. I am aging and eaten and have done my share of eating too. I am not washed and beautiful, in control of a shining world in which everything fits, but instead am wondering awed about on a splintered wreck I've come to care for, whose gnawed trees breathe a delicate air, whose bloodied and scarred creatures are my dearest companions, and whose beauty bats and shines not in its imperfections but overwhelmingly in spite of them.. Annie Dillard
82
At a certain point, you say to the woods, to the sea, to the mountains, the world, Now I am ready. Now I will stop and be wholly attentive. You empty yourself and wait, listening. After a time you hear it: there is nothing there. There is nothing but those things only, those created objects, discrete, growing or holding, or swaying, being rained on or raining, held, flooding or ebbing, standing, or spread. You feel the world's word as a tension, a hum, a single chorused note everywhere the same. This is it: this hum is the silence. Nature does utter a peep - just this one. The birds and insects, the meadows and swamps and rivers and stones and mountains and clouds: they all do it; they all don't do it. There is a vibrancy to the silence, a suppression, as if someone were gagging the world. But you wait, you give your life's length to listening, and nothing happens. The ice rolls up, the ice rolls back, and still that single note obtains. The tension, or lack of it, is intolerable. The silence is not actually suppression: instead, it is all there is. Annie Dillard
83
Nature's silence is its one remark, and every flake of world is a chip off that old mute and immutable block. Annie Dillard
84
It is difficult to undo our own damage, and to recall to our presence that which we have asked to leave. It is hard to desecrate a grove and change your mind. The very holy mountains are keeping mum. We doused the burning bush and cannot rekindle it; we are lighting matches in vain under every green tree. Annie Dillard
85
In nature, improbabilities are the one stock in trade. The whole creation is one lunatic fringe. If creation had been left up to me, I'm sure I wouldn't have had the imagination or courage to do more than shape a single, reasonably sized atom, smooth as a snowball, and let it go at that. Annie Dillard
86
Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture, and lapse into a dreamless sleep. Annie Dillard
87
I chanced on a wonderful book by Marius von Senden, called Space and Sight. For the newly sighted, vision is pure sensation unencumbered by meaning: "The girl went through the experience that we all go through and forget, the moment we are born. She saw, but it did not mean anything but a lot of different kinds of brightness." . . In general the newly sighted see the world as a dazzle of color-patches. They are pleased by the sensation of color, and learn quickly to name the colors, but the rest of seeing is tormentingly difficult. . The mental effort involved . proves overwhelming for many patients. It oppresses them to realize, if they ever do at all, the tremendous size of the world, which they had previously conceived of as something touchingly manageable. A disheartening number of them refuse to use their new vision, continuing to go over objects with their tongues, and lapsing into apathy and despair. On the other hand, many newly sighted people speak well of the world, and teach us how dull is our own vision. . Annie Dillard
88
Today is one of those excellent January partly cloudies in which light chooses an unexpected part of the landscape to trick out in gilt, and then the shadow sweeps it away. You know you’re alive. You take huge steps, trying to feel the planet’s roundness arc between your feet. Annie Dillard
89
Nature's silence is its one remark, and every flake of world is a chip off that old mute and immutable block. The Chiense say that we live in the world of ten thousand things. Each of the ten thousand things cries out to us precisely nothing. Annie Dillard
90
Mountains are giant, restful, absorbent. You can heave your spirit into a mountain and the mountain will keep it, folded, and not throw it back as some creeks will. The creeks are the world with all its stimulus and beauty; I live there. But the mountains are home. Annie Dillard
91
Unfortunately, nature is very much a now-you-see-it, now-you-don't affair. A fish flashes, then dissolves in the water before my eyes like so much salt. Deer apparently ascend bodily into heaven, the brightest oriole fades into leaves. These disappearances stun me into stillness and concentration; they say of nature that it conceals with a grand nonchalance, and they say of vision that it is a deliberate gift, .. For a week last September migrating red-winged blackbirds were feeding heavily down by the creek at the back of the house. One day I went out to investigate the racket: I walked up to a tree, an Osage orange, and a hundred birds flew away. They simply materialized out of the tree. I saw a tree, then a whisk of color, then a tree again. I walked closer and another hundred blackbirds took flight. Not a branch, not a twig budged: the birds were apparently weightless as well as invisible. Or, it was as if the leaves of the Osage orange had been freed from a spell in the form of red-winged blackbirds; they flew from the tree, caught my eye in the sky, and vanished. When I looked again at the tree the leaves had reassembled as if nothing had happened. Finally I walked directly to the trunk of the tree and a final hundred, the real diehards, appeared, spread, and vanished. How could so many hide in the tree without my seeing them? The Osage orange, unruffled, looked just as it had looked from the house, when three hundred red-winged blackbirds cried from its crown. I looked downstream where they flew, and they were gone. Searching, I couldn't spot one. I wandered downstream to force them to play their hand, but they'd crossed the creek and scattered. One show to a customer. These appearances catch at my throat; they are the free gifts, the bright coppers at the roots of trees. . Annie Dillard
92
That it’s rough out there and chancy is no surprise. Every live thing is a survivor on a kind of extended emergency bivouac. But at the same time we are also created. In the Koran, Allah asks “the heaven and the earth, and all in between, thinkest thou I made them in jest?” It’s a good question. What do we think of the created universe, spanning an unthinkable void with an unthinkable profusion of forms? Or what do we think of nothingness, those sickening reaches of time in either direction? If the giant water bug was not made in jest, was it then made in earnest? . Annie Dillard
93
We can stage our own act on the planet-build our cities on its plains, dam its rivers, plant its topsoils-but our meaningful activity scarcely covers the terrain. We do not use the songbirds, for instance. We do not eat many of them; we cannot befriend them; we cannot persuade them to eat more mosquitoes or plant fewer weed seeds. We can only witness them-whoever they are. If we were not here, they would be songbirds falling in the forest. If we were not here, material events like the passage of seasons would lack even the meager meanings we are able to muster for them. The show would play to an empty house, as do all those falling stars which fall in the daytime. That is why I take walks: to keep an eye on things. Annie Dillard
94
Lou asked point-blank, Can love last? (Rural people get to philosophizing, and will say anything.)– Oh, darling! No, not that heart-thumping passion. Give that eighteen months. But it’s replaced by something even better. Lou waited.– Lovers! Annie Dillard
95
I set up and staged hundreds of ends-of-the-world and watched, enthralled, as they played themselves out. Annie Dillard
96
The answer must be, I think, that the beauty and grace are performed whether or not we will or sense them. The least we can do is try to be there. Annie Dillard
97
I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Annie Dillard
98
How we spend our days is, of course, how we spend our lives. What we do with this hour and with that one, is what we are doing. Annie Dillard
99
How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing. A schedule defends from chaos and whim. It is a net for catching days. It is a scaffolding on which a worker can stand and labor with both hands at sections of time. A schedule is a mock-up of reason and order–willed, faked, and so brought into being; it is a peace and a haven set into the wreck of time; it is a lifeboat on which you find yourself, decades later, still living. Annie Dillard
100
If she[…] had known how much her first half-inch beginning to let go would take - and how long her noticing and renouncing owning and her turning her habits, and beginning the slimmest self-mastery whose end was nowhere in sight - would she have begun? Annie Dillard