Last weekend Myron and I went kayaking on the Baraboo River in Wisconsin, which we’d never heard about before, but found by typing “kayaking” and “Wisconsin” into Google. I highly recommend the Baraboo River Rentals, run by a couple of enthusiastic and interesting college students and their grandparents. At first I couldn’t understand why we were driving all the way from Chicago to Wisconsin for this four-hour kayak trip when we could have gone downtown and rented from that place at the mouth of the Chicago River and Lake Michigan, but when we got on the water and it was so calm and quiet–we didn’t meet another soul for hours–I understood that getting into the stillness can dramatically change the experience of being home in the city.
A couple of things stayed with me. The blue heron that kept flying ahead of us, perching on a rock or tree, and then moving on when we caught up, but it almost seemed as if he was waiting for us, looking out for us somehow. And the driver of the shuttle bus who took us to and from the put-in spot. He was in the midst of a master’s degree in rehabilitation studies, he told us, meaning he was looking into alternative ways to help people with depression and people with PTSD, soldiers and victims of anything from rape, to child abuse, to police brutality, cope in ways that dramatically improved the their lives. It seemed so miraculous that a twenty-two year old would devote his life to something like that–flying ahead, perching on a rock or tree, looking out for us somehow.
Today–a writing day, a revision of my book about the Selway-Bitterroot Wilderness. I’ve been working on this story for fifteen years and I finally think I know what it’s about. On long writing days I move venues every few hours, from dining room to study to family room to coffee shop. Today’s gorgeous weather and my 100-year-old grape made the perfect office.
I’ve been rereading Faulkner–The Sound and the Fury–and some Thomas Bernhard–The Loser. A study in contrasts! Faulkner is stingy with his reader (or that’s how I felt last night as I read in bed), and Bernhard generous, or maybe effusive is a better word, which is how he’s able to unravel something as ineffable as the death of someone you don’t know well:
So many in his circle had already died, he said, so many relatives, friends, acquaintances, none of these deaths ever shocked him, but Glenn’s death dealt him a deadly blow, he pronounced deadly with extraordinary precision. We don’t have to be with a person in order to feel bound to him as to no other, he said. Glenn’s death had hit him very hard, he said, I thought while standing in the inn. Although one could have predicted this death more certainly than any other, that goes without saying, so he said. Nonetheless we still can’t grasp it, we can’t comprehend, can’t grasp it.
Yesterday I pulled six sheets with embedded kelp I collected from the beach where William Blake lived for three years, from 1800 to 1803, on England’s south coast. I’m planning to make a tunnel book using his image of Newton, whose design–particularly the lichen and moss–resembles the kelp.
Rough draft of a block from my project called “Slime.” Kozo, abaca, embedded with seaweed I collected from Watchet, England, and lines from Coleridge’s Rime of the Ancient Mariner printed on regular typing paper.
Today I pulled some mitsumata sheets, which are drying downstairs in my Oak Park house. Mitsumata is a fiber used in Japanese paper making. The species is also called edgeworthia chrysantha after the 19th-century British writer Maria Edgeworth, whose brother was a botanist and worked for the East India Company. I embedded bits of gorgeous seaweed and kelp I’d collected on the beach at Felpham, a few yards from where William Blake lived and worked for three years. I adore Blake but I never could get very far with Edgeworth.