An Annie Dillard Reader (37 page)

There must be something wrong with a creekside person who, all things being equal, chooses to face downstream. It's like fouling your own nest. For this and a leather couch they pay fifty dollars an hour? Tinker Creek doesn't back up, pushed up its own craw, from the Roanoke River; it flows down, easing, from the northern, unseen side of Tinker Mountain. “Gravity, to Copernicus, is the nostalgia of things to become spheres.” This is a curious, tugged version of the great chain of being. Ease is the way of perfection, letting fall. But, as in the classic version of the great chain, the pure trickle that leaks from the unfathomable heart of Tinker Mountain, this Tinker Creek, widens, taking shape and cleaving banks, weighted with the live and intricate impurities of time, as it descends to me, to where I happen to find myself, in this intermediate spot, halfway between here and there. Look upstream. Just simply turn around; have you no will? The future is a spirit, or a distillation of
the
spirit, heading my way. It is north. The future is the light
on the water; it comes, mediated, only on the skin of the real and present creek. My eyes can stand no brighter light than this; nor can they see without it, if only the undersides of leaves.

Trees are tough. They last, taproot and bark, and we soften at their feet. “For we are strangers before thee, and sojourners, as were all our fathers: our days on the earth are as a shadow, and there is none abiding.” We can't take the lightning, the scourge of high places and rare airs. But we can take the light, the reflected light that shines up the valleys on creeks. Trees stir memories; live waters heal them. The creek is the mediator, benevolent, impartial, subsuming my shabbiest evils and dissolving them, transforming them into live moles, and shiners, and sycamore leaves. It is a place even my faithlessness hasn't offended; it still flashes for me, now and tomorrow, that intricate, innocent face. It waters an undeserving world, saturating cells with lodes of light. I stand by the creek over rock under trees.

It is sheer coincidence that my hunk of the creek is strewn with boulders. I never merited this grace, that when I face upstream I scent the virgin breath of mountains, I feel a spray of mist on my cheeks and lips, I hear a ceaseless splash and susurrus, a sound of water not merely poured smoothly down air to fill a steady pool, but tumbling live about, over, under, around, between, through an intricate speckling of rock. It is sheer coincidence that upstream from me the creek's bed is ridged in horizontal croppings of sandstone. I never merited this grace, that when I face upstream I see the light on the water careening toward me, inevitably, freely, down a graded series of terraces like the balanced winged platforms on an infinite, inexhaustible font. “Ho, if you are thirsty, come down to the water; ho, if you are hungry, come and sit and eat.” This is the present, at last. I can pat the puppy anytime I want. This is the now, this flickering, broken light, this air that the wind of the future presses down my throat, pumping me buoyant and giddy with praise.

My God, I look at the creek. It is the answer to Merton's prayer: “Give us time!” It never stops. If I seek the senses and skill of children, the information of a thousand books, the inno
cence of puppies, even the insights of my own city past, I do so only, solely, and entirely that I might look well at the creek. You don't run down the present, pursue it with baited hooks and nets. You wait for it, empty-handed, and you are filled. You'll have fish left over. The creek is the one great giver. It is, by definition, Christmas, the incarnation. This old rock planet gets the present for a present on its birthday every day.

Here is the word from a subatomic physicist: “Everything that has already happened is particles, everything in the future is waves.” Let me twist his meaning. Here it comes. The particles are broken; the waves are translucent, laving, roiling with beauty like sharks. The present is the wave that explodes over my head, flinging the air with particles at the height of its breathless unroll; it is the live water and light that bear from undisclosed sources the freshest news, renewed and renewing, world without end.

A
ROSY, COMPLEX LIGHT FILLS
my kitchen at the end of these lengthening June days. From an explosion on a nearby star eight minutes ago, the light zips through space, particle-wave, strikes the planet, angles on the continent, and filters through a mesh of land dust: clay bits, sod bits, tiny windborne insects, bacteria, shreds of wing and leg, gravel dust, grits of carbon, and dried cells of grass, bark, and leaves. Reddened, the light inclines into this valley over the green western mountains; it sifts between pine needles on northern slopes, and through all the mountain blackjack oak and haw, whose leaves are unclenching, one by one, and making an intricate toothed and lobed haze. The light crosses the valley, threads through the screen on my open kitchen window, and gilds the painted wall. A plank of brightness bends from the wall and extends over the goldfish bowl on the table where I sit. The goldfish's side catches the light and bats it my way; I've an eyeful of fish scale and star.

This Ellery cost me twenty-five cents. He is a deep red orange, darker than most goldfish. He steers short distances mainly with his slender red lateral fins; they seem to provide impetus for going backward, up, or down. It took me a few days to discover his ventral fins; they are completely transparent and all but invisible—dream fins. He also has a short anal fin, and a tail that is deeply notched and perfectly transparent at the two tapered tips. He can extend his mouth, so that it looks like a length of pipe; he can shift the angle of his eyes in his head so he can look before and behind himself, instead of simply out to his sides. His belly, what there is of it, is white ventrally, and a patch of this white extends up his sides—the variegated Ellery. When he opens his gill slits he shows a thin crescent of silver where the flap overlapped—as though all his brightness were sunburn.

For this creature, as I said, I paid twenty-five cents. I had never bought an animal before. It was very simple; I went to a store in Roanoke called Wet Pets; I handed the man a quarter, and he handed me a knotted plastic bag bouncing with water in which a green plant floated and the goldfish swam. This fish, two bits' worth, has a coiled gut, a spine radiating fine bones, and a brain. Just before I sprinkle his food flakes into his bowl, I rap three times on the bowl's edge; now he is conditioned, and swims to the surface when I rap. And he has a heart.

Once, years ago, I saw red blood cells whip, one by one, through the capillaries in a goldfish's transparent tail. The goldfish was etherized. Its head lay in a wad of wet cotton wool; its tail lay on a tray under a dissecting microscope, one of those wonderful light-gathering microscopes with two eyepieces, like a stereoscope in which the world's fragments—even the skin on my finger—look brilliant with myriads of colored lights, and as deep as any alpine landscape. The red blood cells in the goldfish's tail streamed and coursed through narrow channels invisible save for glistening threads of thickness in the general translucency. They never wavered or slowed or ceased flowing, like the creek itself; they streamed redly around, up, and on, one by one, more, and more, without end. (The energy of that pulse reminds me of something about the human body: if you sit absolutely perfectly balanced on the end of your spine, with your legs either crossed tailor fashion or drawn up together, and your arms forward on your legs, then even if you hold your breath, your body will rock with the energy of your heartbeat, forward and back, effortlessly, for as long as you want to remain balanced.) Those red blood cells are coursing in Ellery's tail now, too, in just that way, and through his mouth and eyes as well, and through mine. I've never forgotten the sight of those cells; I think of it when I see the fish in his bowl; I think of it lying in bed at night, imagining that if I concentrate enough I might be able to feel in my fingers' capillaries the small knockings and flow of those circular dots, like a string of beads drawn through my hand.

Something else is happening in the goldfish bowl. There on the kitchen table, nourished by the simple plank of complex
light, the plankton is blooming. The water yellows and clouds; a transparent slime coats the leaves of the water plant, elodea; a blue-green film of single-celled algae clings to the glass. And I have to clean the doggone bowl. I'll spare you the details: it's the plant I'm interested in. While Ellery swims in the stoppered sink, I rinse the algae down the drain of another sink, wash the gravel, and rub the elodea's many ferny leaves under running water until they feel clean.

The elodea is not considered much of a plant. Aquarists use it because it's available and it gives off oxygen completely submersed; laboratories use it because its leaves are only two cells thick. It's plentiful, easy to grow, and cheap—like the goldfish. And like the goldfish, its cells have unwittingly performed for me on a microscope's stage.

I was in a laboratory, using a very expensive microscope. I peered through the deep twin eyepieces and saw again that color-charged, glistening world. A thin, oblong leaf of elodea, a quarter of an inch long, lay on a glass slide sopping wet and floodlighted brilliantly from below. In the circle of light formed by the two eyepieces trained at the translucent leaf, I saw a clean mosaic of almost colorless cells. The cells were large—eight or nine of them, magnified four hundred fifty times, packed the circle—so that I could easily see what I had come to see: the streaming of chloroplasts.

Chloroplasts bear chlorophyll; they give the green world its color, and they carry out the business of photosynthesis. Around the inside perimeter of each gigantic cell trailed a continuous loop of these bright-green dots. They spun like paramecia; they pulsed, pressed, and thronged. A change of focus suddenly revealed the eddying currents of the river of transparent cytoplasm, a sort of “ether” to the chloroplasts, or “space-time,” in which they have their tiny being. Back to the green dots: they shone, they swarmed in ever shifting files around and around the edge of the cell; they wandered, they charged, they milled, raced, and ran at the edge of apparent nothingness, the empty-looking inner cell; they flowed and trooped greenly, up against the vegetative wall.

All the green in the planted world consists of these whole,
rounded chloroplasts wending their ways in water. If you analyze a molecule of chlorophyll itself, what you get is one hundred thirty-six atoms of hydrogen, carbon, oxygen, and nitrogen arranged in an exact and complex relationship around a central ring. At the ring's center is a single atom of magnesium. Now: if you remove the atom of magnesium and in its exact place put an atom of iron, you get a molecule of hemoglobin. The iron atom combines with all the other atoms to make red blood, the streaming red dots in the goldfish's tail.

 

It is, then, a small world there in the goldfish bowl, and a very large one. Say the nucleus of any atom in the bowl were the size of a cherry pit: its nearest electron would revolve around it one hundred seventy-five yards away. A whirling air in his swim bladder balances the goldfish's weight in the water; his scales overlap, his feathery gills pump and filter; his eyes work, his heart beats, his liver absorbs, his muscles contract in a wave of extending ripples. The daphnias he eats have eyes and jointed legs. The algae the daphnias eat have green cells stacked like checkers or winding in narrow ribbons like spiral staircases up long columns of emptiness. And so on diminishingly down. We have not yet found the dot so small it is uncreated, as it were, like a metal blank, or merely roughed in—and we never shall. We go down landscape after mobile, sculpture after collage, down to molecular structures like a mob dance in Brueghel, down to atoms airy and balanced as a canvas by Klee, down to atomic particles, the heart of the matter, as spirited and wild as any El Greco saints. And it all works. “Nature,” said Thoreau in his journal, “is mythical and mystical always, and spends her whole genius on the least work.” The creator, I would add, churns out the intricate texture of least works that is the world with a spendthrift genius and an extravagance of care. This is the point.

 

I am sitting here looking at a goldfish bowl and busting my brain.
Ich kann nicht anders
. I am sitting here, you are sitting there. Say even that you are sitting across this 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. (You die, you die; first you go wet, and then you go dry.) 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. It's common sense: when you move in, you try to learn the neighborhood.

I am as passionately interested in where I am as is a lone sailor sans sextant in a ketch on the open ocean. What else is he supposed to be thinking about? Fortunately, like the sailor, I have at the moment a situation that allows me to devote considerable hunks of time to seeing what I can see, and trying to piece it together. I've learned the names 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 Fahrenheit. Of the 29 percent of all land that is above water, over a third is given to grazing. The average size of all living animals, including man, is almost that of a housefly. The earth is mostly granite, which in turn is mostly oxygen. The most numerous of animals big enough to see are the copepods, the mites, and the springtails; of plants, the algae, the sedge. In these Appalachians we have found a coal bed with one hundred twenty seams, meaning one hundred twenty forests that just happened to fall into water, heaped like corpses in drawers. And so on. These statistics, and all the various facts about subatomic particles, quanta, neutrinos, and so forth, constitute in effect the infrared and ultraviolet light at either end of the spectrum. They are too big and too small to see, to understand; they are more or less invisible to me though present, and peripheral to me in a real sense because I do not understand even what I can easily see. 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, with the goldfish bowl and the snakeskin, 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 to 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 the 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. I can't think about it. So it is to the fringe of that question that I affix my attention, the fringe of the fish's fin, the intricacy of the world's spotted and speckled detail.

The old cabalistic phrase is “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 with gills 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.

 

You are God. You want to make a forest, something to hold the soil, lock up solar 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 in the ground 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, the exposed portions (closed cone) reddish brown, often wrinkled, armed on the back with a small, reflexed prickle, which curves toward the base of the scale”? When you loose the lashed copper wire trussing the replica limbs to the trunk, the whole tree collapses like an umbrella.

 

You are a starling. I've seen you fly through a longleaf pine without missing a beat.

 

You are a sculptor. You climb a great ladder; you pour grease all over a growing longleaf pine. Next, you build a hollow cylinder like a cofferdam around the entire pine, and grease its inside walls. You climb your ladder and spend the next week pouring wet plaster into the cofferdam, over and inside the pine. You wait; the plaster hardens. Now open the walls of the dam, 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.