Category Archives: Arts

Life Book

“Every man, I think, reads one book in his life, and this one is mine,” E.B. White wrote of “Walden” in a 1953 New Yorker piece. “It is not the best book I ever encountered, perhaps, but it is for me the handiest.”

The other day a Google alert that feeds me regular notice of Thoreau’s appearance in media across the web, offered me a link to a reflective piece that had just appeared on Salon.com. Benjamin Naddaff-Hafrey’s pleasureable essay opened at the end of E.B. White’s life and then rolled back through his long attachment to Walden and the many copies White owned, read and gave away, including a 1964 edition (complete with a rain-shedding duraflex cover) to which he wrote the introduction.

Thoreau and White Credit: Wikimedia

Thoreau and White
Credit: Wikimedia

The traced arc of White’s connection to Walden made me look back over my own, a mostly pleasant stroll through seasons of learning and teaching, and that, in turn, brought on reflections from over three years of writing for The Roost. How many books and writers could both sustain my interest and provide so many points of thinking and writing departure? Answer: one.

If one accepts White’s proposal, the question follows: how do you know when you’ve picked up and read your life-book? For me the answer arrived slowly. My first reading of Walden was hardly a reading at all. Assigned the book in a high school English class, I turned dutifully to it on evening one and fell promptly asleep. The pattern continued through the three weeks we considered sections of the book, and there was also an alarming transference to class time, where my chronic head-bobbing intensified, lowering my teacher’s already low estimation of me. I missed entirely Thoreau’s discontent with the sort of schooling I was sleeping through, and I missed his affection for the outdoor world where I felt truly animated. I did benefit from the cautionary message of this sleepy passage years later when I began to teach Walden, but my first meeting with Henry Thoreau was akin to passing someone of the street.

Jump to college and a reading with a touch more adhesive. I got – mostly by listening to lectures – some of Thoreau’s central critique of his (and, by extension, my) world, and I noted that the place he went for insight and wisdom was like mine, wooded and hilly. All good, but not exactly a scrivmance.

Then there was the long, oblique approach to my life’s work, teaching. By the time I landed in an English Department some 20 years along, I knew quite a bit about teaching and writing and a lot about being outside, but I’d not returned to Walden, though as a journal editor, I’d received any number of pieces to which it was important. Then, a year or two into my English career, my department chair said, “So here we are in Concord, and, since Phil retired, no one’s been teaching Walden. You spend too much time in the woods. How about you?”

Of such questions long affection is born. I arrived at my life-book late, much later, for instance than White did, but, after 25 years of readings, teachings, and any number of epiphanies, major and minor, I’m still turning its pages, still awake to its possibilities. I keep Walden handy.

Rising to Go

The entrance to the National Library of Ireland looks out over an attractive courtyard that fronts the parliament building. Once inside the library, a quick right turn takes you through a hallway of Joyce photos with a short bio that notes Joyce’s early aspiration as a singer and then down a flight of stairs for a visit with William Butler Yeats. Having long admired Yeats’ poetry, I was eager to get there. As I descended, I heard a voice that sounded like creaky furniture: ” I will arise and go now…” And my mind filled in the next words – and go to Innisfree. The rhythm set up in my head, and I mouthed the words as the old, rough-jointed voice read on. That must be Yeats himself, I thought, and it was. The poem ended, and for the next reading a famous Irish actor took over, sailing me to Byzantium.

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Well that was a worthy beginning, I thought, and then I began to nose into the corners of this permanent exhibit, looking over notebooks and letters and manuscripts, with their fascinating cross outs and emendations. Not far in, my eye was drawn by an opened volume with a familiar word on its title page – Walden, it said. And there was Yeats’ personal copy of Walden, with a note beside it pointing to the book as inspiration for The Lake Isle of Innisfree. I read the poem again. Of course…there in its early lines is the cabin that the poet will build, and, a little later, the rows of beans that he will sow. And there, as solace when the poet returns to the gray world of the village, is the memory of the isle, the lake, the “bee-loud glade” to which he can return if he chooses.

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It’s an early poem in Yeats’ work, and much greater poems followed, among them the always prescient Second Coming, but the need to step away, if only for a while, resonates for the young Yeats, and for many of us. Often, I think, we read our poets with the same hope.

Seeing in the Dark

…I frequently had to look up at the opening between the trees above the path in order to learn my route, and, where there was no cart-path, to feel with my feet the faint track which I had worn or steer by the known relation of particular trees which I felt with my hands, passing between two pines for instance, not more than eighteen inches apart, in the midst of the woods, invariably, in the darkest night. Thoreau, Walden

It’s evening, and we’ve gone inside. The day’s colors are damped down; the visual world shows in soft tones tending toward gray. I sit in a pool of lamplight and open a book, reach over and crank the window once to admit a trickle of coolish air and the woods-smell from the pines. The scented air slips in, and with it comes night’s announcement from our resident tree frogs: “TTHHRRRRIILLING,” they seem to trill. “TTHHRRRIILLING!”

The frogs’ call doesn’t exactly invite you out, but it wonders; so now do I. I tend to tuck my days in at dusk, favoring the armchair to the evening amble, favoring, as do many, the light to the dark. There are, of course, reasons for this, among them, post-dinner torpor, accumulated fatigue, and, at times, the bright, visual fire of the screen.

Recently, in high daylight, a fox ran through the yard; it appeared from beneath the rhododendrons and made a linear track across the grass, disappearing by the corner of the garage. I got a good look: this fox was a scruffy affair, with clots of fur hanging off a too-thin body in this season of plenty. His appearance, physical and temporal, suggested some sickness. Foxes are crepuscular in habit, night creatures really, when they are suggestions of motion bearing teeth amid shadows. What was night doing out in the light?

Neighbors immediately thought, disease, and they were probably right; I began to think about daytime visits from visions of the night, and then about my own visits with the night, times when the usual became strange and new, and I was awake to it.

As companion in this wondering, I had also my visits to a local exhibition at the Bowdoin College Museum of Art. Night Visions (ongoing until October 18th) is an inspired idea and collection that looks at American paintings at and of night from the mid-19th to mid-20th centuries, the time of transition from old-style darkness to our illuminated contest with night.

Frederic Remington painting. Note the way the wolf's eyes are kin to the stars.

Frederic Remington painting. Note the way the wolf’s eyes are kin to the stars.

A walk through the exhibition is a walk back into another kind of darkness and then back into our own attempts to light the night. Both are, as the tree frogs remind me, “TTHHRRRRIILLING”; they reminded me also of Thoreau’s meditation on walking at night, which deepens to praise of getting lost, as a way awakening and being, finally, found in his Walden chapter, The Village (see passage at this post’s outset). Notably, I think, this meditation also immediately precedes his story of being jailed for nonpayment of taxes – another awakening venture into a form of darkness.

When you adopt a mind of night as you read, you may find that there’s also a fair amount of night-wandering and night-musing in and at Walden. In pursuit of being awake, Thoreau did not confine himself to the day.

And even now, Walden night-swimmers walk in from the west side woods to the little coves near the railroad tracks…not that I have ever done so…to make their acquaintance with the night.

Here’s a link to the Bowdoin College Museum of Art’s exhibition:http://www.bowdoin.edu/art-museum/exhibitions/2015/nv/