This is an old, old essay from my MFA thesis, posted in honor of the Shelter House Used Book Sale, happening again today from noon to 4 pm at 1925 Boyrum Street in Iowa City. Many of the books mentioned below are for sale there, as well as many other books you might actually want to read. Every kid who goes gets a free book, and proceeds go to support services for the homeless in Iowa City.
For four years, from third through sixth grade, I lived with my mother and our cat in a brown shingle house tucked far to the back of its lot on a side street near a large park in our small midwestern city. The house was an ordinary split level, ugly and unprepossessing, with a sad band of trees planted haphazardly in its yard: a tilted Russian olive, a sinking willow, a nearly barren pine, trees I climbed and sat in and put stones around, even in their brokenness. The houseâ€
Although we gave away 108 boxes of books to my fatherâ€
My mother kept fiction and childrenâ€
The library had greenish-blue industrial carpet and a sloped ceiling. The wall on its higher side was made of bookshelves, and the wall on the lower side was dominated by an enormous picture window.
Out the window you could see our yard and into our neighborsâ€
I spent a lot of time in this room, often looking out the window instead of doing math homework or practicing viola. But, especially as twilight darkened the window so that it reflected the space in time, my attention turned to the other wall, too, to the shelves and shelves of books.
They were arranged, I now realize, by the Library of Congress system, by genre and nationality and century. The volumes were elegant, many of them hardback, black or grey or blue or olive green or, occasionally, red, with gold leaf and lettering on their spines. The titles and the covers o f these books were as much a part of my landscape as any living aspect of the natural world: The Oxford Book of English Verse, Boswellâ€
* * *
When people asked me what I wanted to be when I was a kid, I said a naturalist and a writer, which produced a certain degree of puzzlement, the latter being an impractical career and the former an obscure one. One could be a journalist or a scientist, but the desire simply to study nature and write of what you saw was, I suppose, peculiar.
The belief that nature has something to teach you, and that you can start from scratch, with the world around you, is as arcane to the world of science as the notion that you can read literature without theory is to the world of letters, but it was not always so. When Aristotle w anted to know how many teeth a horse had, he went out and counted them. That later generations took his word for it seems to me a sign not of progress but of an appalling lack of curiosity. Book-learning may help me identify the species of a bird or the meter of a poem, but what the bird and the poem have to teach me they will do themselves.
In college I was technically a Classics major, but I spent a great deal of time in the eighteenth century. It was an age that seemed to have much that the present one lacks. They all read Latin and Greek, they had intelligent and witty conversations, they never tolerated a fool, and even when they were angry, they were very, very elegant. But, most appealing of all, they seemed genuinely interested in human nature and natural law. All the men I read seemed to be natural philosophers — natural both in that they were observant of the ways of nature and natural in that their observations seemed to come from them, not through any critical or sociological theory. I read Hume on natural religion, Rousseau on man in a state of nature, and Montesquieu on natural law, and I wrote an entire term paper
on American natural history of the eighteenth century, when everyone was trying to figure out the nature of the New World, its new governments, and what Crevecoeur called â€œthis American, this new man.â€
But I also learned -â€” or was told -â€” that by and large, these men got nature wrong. Their ideas of order and equality left a lot of people out -â€” had I been around at the time, in fact, they would have excluded me by mere fact of my sex. Rousseau, that great proponent of noble savagery, had no desire to live amongst the “savages” himself, and abandoned his illiterate wife and five children to schmooze with the upper classes. Benjamin Rush, an American physician much enamored of Enlightenment philosophy, believed that black skin was a disease of the moral faculty (located, he posited, in the spleen), though by selective breeding, it might eventually be possible to purify the morals and thus lighten the skin. That phrase that Thom as Jefferson so charmingly altered to â€œthe pursuit of happinessâ€ was still understood by all to mean what John Locke had originally written, â€œthe pursuit of property.â€ The prescription for manifest destiny and destruction was carved on the cornerstone of the country, and much of it, I was told, came from pondering not only nature but also the very books I had stared at in the library as a child.
Somehow, it seemed, I had horribly misread the words and the world. Growing up in that space where art and nature met had made me want to plunge more deeply into each. Apparently others were similarly impelled, but for them that plunge meant drilling for oil in the wilderness and arguing for the advancement of one group of people by the oppression of another. The effect was something like that of learning you and your worst enemy share a common ancestor or a fondness for the Gospel according to John -â€” yet it makes sense in a way, for what is enmity if not a belief that someone else is perverting that thing which is dearest to your heart?
Lately I have been reading Longinus, the first century AD rhetorician, in a translation with commentary done by my father and his former student and colleague, James Arieti. His chief work is On the Sublime, a treatise on composition that deals explicitly with questions of art (or technique, as my father and Arieti translate it) and
nature. Are poets born by nature or made through technique? An old question. Both, says Longinus: without nature, art would have no substance; without art, nature would have no form.
Always I find myself back in the library at dusk, watching the world as it fades and then reappears, as the trees turn to books and the leaves to words printed on a page. Always I remember searching for smooth flat black stones to place in a circle on the ground beneath a tree, and lying on the ground to listen and feeling something listening back. Always I remember the night my m other turned to the shelf, pulled out a volume, and read to me from Richard Hooker, Of the Laws of Ecclesiastical Policy.
Now if nature should interm it her course, and leave altogether though it were but for a while the observation of her own laws; if those principal and mother elements of the world, whereof all things in this lower world are made, should lose the qualities which now they have; if the frame of that heavenly arch erected over our heads should loose and dissolve itself; if celestial spheres should forget their wonted motions, and by irregular volubility turn themselves anyway as it might happen; if the prince of the lights of heaven, which now as a giant doth run his unwearied course, should as it were through a languishing faintness begin to stand and to rest himself; if the moon should wander from her beaten way, the times and seasons of the year blend themselves by disordered and confused mixture, the winds breathe out their last gasp, the clouds yield no rain, the earth be defeated of heavenly influence, the fruits of the earth pine away as children at the withered breasts of their mother no longer able to yield them relief: what would become of man himself, whom all these things now do all serve?
See we not plainly that obedience of creatures unto the law of nature in the stay of the whole world?
Perhaps, then, these things, this space, are more than just a hall o f mirrors, art and nature, nature and art. Perhaps they were preparing me to walk that narrow, filmy spiderâ€