Preface: This is a small and treasured collection saved from the earlier incarnation of Reckonings. Annie Dillard's work, as much as any with which I'm familiar, shatters efforts to categorize. Our habits of dividing our lives into manageable pieces are often useful, but it's necessary--regularly, I believe--to be reminded that the membranes separating those pieces are fragile and permeable, that such categories can be mischievous as well as helpful and possess surprising arbitrariness-- and indeed that those pieces are ultimately fragments of a whole embracing more than we can know, but perhaps not more than we can apprehend. Such are the kind of thoughts that time with Annie Dillard inspires.
I. Introduction
It is raining. A soft, warm June rain, the kind I know will pause now and then but last all day. The stream is high, the mountains hidden in mist. I am quiet in this old house. The silence is complete except for the sound of the stream. My dog sleeps behind me, at the head of the stairs, so I won't leave without her noticing and coming along. There are also two Maine coon cats somewhere. When they're in a playful mood they sound like thunder ricocheting off the walls, but it's evidently nap time.
I've taken my collection of Annie Dillard's books from the shelf, and have been looking through them: partly, I suppose, because I think she too would enjoy this place and its quiet. At the top of the pile is the collection of story-essays whose title has remained most vividly in my memory over the years, Teaching a Stone to Talk. I notice on the flyleaf, with affectionate memory, that it was given to me on my birthday in 1984 by an old friend in Vermont's northland. The pages have begun to turn brown, and bear the usual underlinings and marginalia (even, I admit, a few dog-ears) of most of the books that have engaged me in conversation. The cover has lost its paste and, like a manila folder, only loosely embraces the text.
Dillard wrote the title essay and perhaps others in the volume, including the third I include here, "A Field of Silence," while living alone on an island in the Pacific Northwest. "Living Like Weasels" was the first of her essays to cast its spell upon me. Eighteen years later I saw my first weasel in the wild. The wait was worth it.
Here is the beginning of "Teaching a Stone to Talk."
II. Teaching a Stone to Talk
(excerpt)
The island where I live is peopled with cranks like myself. In a cedar-shake shack on a cliff--but we all live like this--is a man in his thirties who lives alone with a stone he is trying to teach to talk.
Wisecracks on the topic abound, as you might expect, but they are made as it were perfunctorily, and mostly by the young. For in fact, almost everyone here respects what Larry is doing, as do I, which is why I am protecting his (or her) privacy, and confusing for you the details. It could be, for instance, a pinch of sand he is teaching to talk, or a prolonged northerly, or any one of a number of waves. But it is, in fact, I assure you, a stone. It is--for I have seen it--a palm sized oval beach cobble whose dark gray is cut by a band of white which runs around and, presumably, through it; such stones we call "wishing stones," for reasons obscure but not, I think, unimaginable.
He keeps it on a shelf. Usually the stone lies protected by a square of untanned leather, like a canary asleep under its cloth. Larry removes the cover for the stone's lessons, or more accurately, I should say, for the ritual or rituals which they perform together several times a day.
No one knows what goes on at these sessions, least of all myself, for I know Larry but slightly, and that owing only to a mix-up in our mail. I assume that like any other meaningful effort, the ritual involves sacrifice, the suppression of self-consciousness, and a certain tilt of the will, so that the will becomes transparent and hollow, a channel for the work. I wish him well. It is a noble work, and beats, from any angle, selling shoes.
Reports differ on precisely what he expects or wants the stone to say. I do not think he expects the stone to speak as we do, and describe for us its long life and many, or few, sensations. I think instead that he is trying to teach it to say a single word, such as "cup," or "uncle." For this purpose he has not, as some have seriously suggested, carved the stone a little mouth, or furnished it in any way with a pocket of air which it might then expel. Rather--and I think he is wise in this--he plans to initiate his son, who is now an infant living with Larry's estranged wife, into the work, so that it may continue and bear fruit after his death.
With that perhaps improbable beginning, Dillard embarks on a meditation about nature's silence. It is, she says, "its one remark, and every flake of world is a chip off that old mute and immutable block." It is not that she ignores the manifold sounds of the natural world; she calls them silence because we do not hear. "We are here to witness....The silence is all there is. It is the alpha and the omega. It is God's brooding over the face of the waters; it is the blended note of the ten thousand things, the whine of wings. You take a step in the right direction to pray to this silence, and even to address the prayer to 'World.' Distinctions blur. Quit your tents. Pray without ceasing."
III. Living Like Weasels
(excerpt)
A weasel is wild. Who knows what he thinks? He sleeps in his underground den, his tail draped over his nose. Sometimes he lives in his den for two days without leaving. Outside, he stalks rabbits, mice, muskrats, and birds, killing more bodies than he can eat warm, and often dragging the carcasses home. Obedient to instinct, he bites his prey at the neck, either splitting the jugular vein at the throat or crunching the brain at the base of the skull, and he does not let go. One naturalist refused to kill a weasel who was socketed into his hand deeply as a rattlesnake. The man could in no way pry the tiny weasel off, and he had to walk half a mile to water, the weasel dangling from his palm, and soak him off like a stubborn label.
And once, says Ernest Thompson Seton--once, a man shot an eagle out of the sky. He examined the eagle and found the dry skull of a weasel fixed by the jaws to his throat. The supposition is that the eagle had pounced on the weasel and the weasel swiveled and bit as instinct taught him, tooth to neck, and nearly won. I would like to have seen that eagle from the air a few weeks or months before he was shot: was the whole weasel still attached to his feathered throat, a fur pendant? Or did the eagle eat what he could reach, gutting the living weasel with his talons before his breast, bending his beak, cleaning the beautiful airborne bones?
I have been reading about weasels because I saw one last week. I startled a weasel who startled me, and we exchanged a long glance.
Twenty minutes from my house, through the woods by the quarry and across the highway, is Hollins Pond, a remarkable piece of shallowness, where I like to go at sunset and sit on a tree trunk. Hollins Pond is also called Murray's Pond; it covers two acres of bottomland near Tinker Creek with six inches of water and six thousand lily pads. In winter, brown-and-white steers stand in the middle of it, merely dampening their hooves; from the distant shore they look like miracle itself, complete with miracle's nonchalance. Now, in summer, the steers are gone. The water lilies have blossomed and spread to a green horizontal plane that is terra firma to plodding blackbirds, and tremulous ceiling to black leeches, crayfish, and carp.
This is, mind you, suburbia. It is a five-minute walk in three directions to rows of houses, though none is visible here. There's a 55 mph highway at one end of the pond, and a nesting pair of wood ducks at the other. Under every bush is a muskrat hole or a beer can. The far end is an alternating series of fields and woods, fields and woods, threaded everywhere with motorcycle tracks--in whose bare clay wild turtles lay eggs.
So. I had crossed the highway, stepped over two low barbed-wire fences, and traced the motorcycle path in all gratitude through the wild rose and poison ivy of the pond's shoreline up into high grassy fields. Then I cut down through the woods to the mossy fallen tree where I sit. This tree is excellent. It makes a dry, upholstered bench at the upper, marshy end of the pond, a plush jetty raised from the thorny shore between a shallow blue body of water and a deep blue body of sky.
The sun had just set. I was relaxed on the tree trunk, ensconced in the lap of lichen, watching the lily pads at my feet tremble and part dreamily over the thrusting path of a carp. A yellow bird appeared to my right and flew behind me. It caught my eye; I swiveled around--and the next instant, inexplicably, I was looking down at a weasel, who was looking up at me.
Weasel! I'd never seen one wild before. He was ten inches long, thin as a curve, a muscled ribbon, brown as fruitwood, soft-furred, alert. His face was fierce, small and pointed as a lizard's; he would have made a good arrowhead. There was just a dot of chin, maybe two brown hairs' worth, and then the pure white fur began that spread down his underside. He had two black eyes I didn't see, any more than you see a window.
The weasel was stunned into stillness as he was emerging from beneath an enormous shaggy wild rose bush four feet away. I was stunned into stillness twisted backward on the tree trunk. Our eyes locked, and someone threw away the key....
He disappeared. This was only last week, and already I don't remember what shattered the enchantment. I think I blinked, I think I retrieved my brain from the weasel's brain, and tried to memorize what I was seeing, and the weasel felt the yank of separation, the careening splashdown into real life and the urgent current of instinct. He vanished under the wild rose. I waited motionless, my mind suddenly full of data and my spirit with pleadings, but he didn't return.
I would like to learn, or remember, how to live. I come to Hollins Pond not so much to learn how to live as, frankly, to forget about it. That is, I don't think I can learn from a wild animal how to live in particular--shall I such warm blood, hold my tail high, walk with my footprints precisely over the prints of my hands?--but I might learn something of mindlessness, something of the purity of living in the physical senses and the dignity of living without bias or motive. The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons. I would like to live as I should, as the weasel lives as he should. And I suspect that for me the way is like the weasel's: open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will....
We could, you know. We can live any way we want. People take vows of poverty, chastity, and obedience--even of silence--by choice. The thing is to stalk your calling in a certain skilled and supple way, to locate the most tender and live spot and plug into that pulse. This is yielding, not fighting. A weasel doesn't "attack" anything; a weasel lives as he's meant to, yielding at every moment to the perfect freedom of single necessity....
IV. A Field of Silence
There is a place called "the farm" where I lived once, in a time that was very lonely. Fortunately I was unconscious of my loneliness then, and felt it only deeply, bewildered, in the half-bright way that a puppy feels pain.
I loved the place, and still do. It was an ordinary farm, a calf-raising, haymaking farm, and very beautiful. Its flat, messy pastures ran along one side of the central portion of a quarter-mile road in the 'central part of an island, an island in Puget Sound, on the Washington coast, so that from the high end of the road you could look west toward the Pacific, to the sound and its hundred islands, and from the other end--and from the farm--you could see east to the water between you and the mainland, and beyond it the mainland's mountains slicked with snow.
I liked the clutter about the place, the way everything blossomed or seeded or rusted; I liked the hundred half-finished projects, the smells, and the way the animals always broke loose. It is calming to herd animals. Often a regular rodeo breaks out--two people and a clever cow can kill a morning--but still, it is calming. You laugh for a while, exhausted, and silence is restored; the beasts are back in their pastures, the fences are not fixed but disguised as if they were fixed, ensuring the animals' temporary resignation; and a great calm descends, a lack of urgency, a sense of having to invent something to do until the next time you must run and chase cattle.
The farm seemed eternal in the crude way the earth does--extending, that is, a very long time. The farm was as old as earth, always there, as old as the island, the Platonic form of "farm," of human society itself, a piece of land eaten and replenished a billion summers, a piece of land worked on, lived on, grown over, plowed under, and stitched again and again, with fingers or with leaves, in and out and into human life's thin weave. I lived there once.
I lived there once and I have seen, from behind the barn, the long roadside pastures heaped with silence. Behind the rooster, suddenly, I saw the silence heaped on the fields like trays. That day the green hayfields supported silence evenly sown; the fields bent just so under the even pressure of silence, bearing it, palming it aloft: cleared fields, part of a land, a planet, that did not buckle beneath the heel of silence, nor split up scattered to bits, but instead lay secret, disguised as time and matter as though that were nothing, ordinary-disguised as fields like those which bear the silence only because they are spread, and the silence spreads over them, great in size.
I do not want, I think, ever to see such a sight again. That there is loneliness here I had granted, in the abstract-but not, I thought, inside the light of God's presence, inside his sanction, and signed by his name.
I lived alone in the farmhouse and rented; the owners, in their twenties, lived in another building just over the yard. I had been reading and restless for two or three days. It was morning. I had just read at breakfast an Updike story, "Packed Dirt, Churchgoing, A Dying Cat, A Traded Car," which moved me. I heard our own farmyard rooster and two or three roosters across the street screeching. I quit the house, hoping at heart to see either of the owners, but immediately to watch our rooster as he crowed.
It was Saturday morning late in the summer, in early September, clear-aired and still. I climbed the barnyard fence between the poultry and the pastures; I watched the red rooster, and the rooster, reptilian, kept one alert and alien eye on me. He pulled his extravagant neck to its maximum length, hauled himself high on his legs, stretched his beak as if he were gagging, screamed, and blinked. It was a ruckus. The din came from everywhere, and only the most rigorous application of reason could persuade me that it proceeded in its entirety from this lone and maniac bird.
After a pause, the roosters across the street started, answering the proclamation, or cranking out another round, arhythmically, interrupting. In the same way there is no pattern nor sense to the massed stridulations of cicadas; their skipped beats, enjambments, and failed alterations jangle your spirits, as though each of those thousand insects, each with identical feelings, were stubbornly deaf to the others, and loudly alone.
I shifted along the fence to see if either of the owners was coming or going. To the rooster I said nothing, but only stared. And he stared at me; we were both careful to keep the wooden fence slat from our line of sight, so that his profiled eye and my two eyes could meet. From time to time I looked beyond the pastures to learn if anyone might be seen on the road.
When I was turned away in this manner, the silence gathered and struck me. It bashed me broadside from the heavens above me like yard goods; ten acres of fallen, invisible sky choked the fields. The pastures on either side of the road turned green in a surrealistic fashion, monstrous, impeccable, as if they were holding their breaths. The roosters stopped. All the things of the world--the fields and the fencing, the road, a parked orange truck--were stricken and self-conscious. A world pressed down on their surfaces, a world battered just within their surfaces, and that real world, so near to emerging, had got stuck.
There was only silence. It was the silence of matter caught in the act and embarrassed. There were no cells moving, and yet there were cells. I could see the shape of the land, how it lay holding silence. Its poise and its stillness were unendurable, like the ring of the silence you hear in your skull when you're little and notice you're living, the ring which resumes later in life when you're sick.
There were flies buzzing over the dirt by the henhouse, moving in circles and buzzing, black dreams in chips off the one long dream, the dream of the regular world. But the silent fields were the real world, eternity's outpost in time, whose look I remembered but never like this, this God-blasted, paralyzed day. I felt myself tall and vertical, in a blue shirt, self-conscious, and wishing to die. I heard the flies again; I looked at the rooster who was frozen looking at me.
Then at last I heard whistling, human whistling far on the air, and I was not able to bear it. I looked around, heartbroken; only at the big yellow Charolais farm far up the road was there motion—a woman, I think, dressed in pink, and pushing a wheelbarrow easily over the grass. It must have been she who was whistling and heaping on top of the silence those hollow notes of song. But the slow sound of the music--the beautiful sound of the music ringing the air like a stone bell--was isolate and detached. The notes spread into the general air and became the weightier part of silence, silence's last straw. The distant woman and her wheelbarrow were flat and detached, like mechanized and pink-painted properties for a stage. I stood in pieces, afraid I was unable to move. Something had unhinged the world. The houses and roadsides and pastures were buckling under the silence. Then a Labrador, black, loped up the distant driveway, fluid and cartoonlike, toward the .pink woman. I had to try to turn away. Holiness is a force, and like the others can be resisted. It was given, but I didn't want to see it, God or no God. It was as if God had said, "I am here, but not as you have known me. This is the look of silence, and of loneliness unendurable; it too has always been mine, and now will be yours." I was not ready for a life of sorrow, sorrow deriving from knowledge I could just as well stop at the gate.
I turned away, willful, and the whole show vanished. The realness of things disassembled. The whistling became ordinary, familiar; the air above the fields released its pressure and the fields lay hooded as before. I myself could act. Looking to the rooster I whistled to him myself, softly, and some hens appeared at the chicken house window, greeted the day, and fluttered down.
Several months later, walking past the farm on the way to a volleyball game, I remarked to a friend, by way of information, "There are angels in those fields." Angels! That silence so grave and so stricken, that choked and unbearable green! I have rarely been so surprised at something I've said. Angels! What are angels? I had never thought of angels, in any way at all.
From that time I began to think of angels. I considered that sights such as I had seen of the silence must have been shared by the people who said they saw angels. I began to review the thing I had seen that morning. My impression now of those fields is of thousands of spirits—spirits trapped, perhaps, by my refusal to call them more fully, or by the paralysis of my own spirit at that time—thousands of spirits, angels in fact, almost discernible to the eye, and whirling. If pressed I would say they were three or four feet from the ground. Only their motion was clear (clockwise, if you insist); that, and their beauty unspeakable.
There are angels in those fields, and, I presume, in all fields, and everywhere else. I would go to the lions for this conviction, to witness this fact. What all this means about perception, or language, or angels, or my own sanity, I have no idea.
Galway Kinnell's A New Selected Poems appeared in 2000. He was awarded both the National Book Award and the Pulitzer Prize for his first Collected Poems in 1980. In the autumn of 2001 he was interviewed by Elizabeth Lund, poetry editor of The Christian Science Monitor, and in her resulting account there is the following passage:
