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304 pages, Paperback
First published January 1, 1974
For the newly sighted, vision is pure sensation unencumbered by meaning: “The girl went through the experience that we all go through and forget, the moment we are born. She saw, but it did not mean anything but a lot of different kinds of brightness” … “But even after three weeks experience of seeing,” von Senden goes on, “ ‘space’ as he conceives it, ends with visual space, i.e. with color-patches that happen to bound his view. He does not yet have the notion that a larger object can mask a smaller one, or that the latter can still be present even though it is not directly seen.” … A little girl visits a garden. “She is greatly astonished, and can scarcely be persuaded to answer, stands speechless in front of the tree, which she only names on taking hold of it, and then as ‘the tree with lights in it.' ” … a twenty-two-year-old girl was dazzled by the world’s brightness and kept her eyes shut for two weeks. When (she then) opened her eyes again, she did not recognize any objects, but, “the more she now directed her gaze upon everything around her, the more it could be seen how an expression of gratification and astonishment overspread her features; she repeatedly exclaimed: ‘Oh God! How beautiful!;”
… I saw color patches for weeks after I read this wonderful book ... But I couldn’t sustain the illusion of flatness. I’ve been around too long. Form is condemned to an eternal danse macabre with meaning … Nor can I remember ever having seen without understanding; the color-patches of infancy are lost … I’m told that I reached for the moon; many babies do. But the color-patches of infancy swelled as meaning filled them; they arrayed themselves in solemn ranks down distance which unrolled and stretched before me like a plain. The moon rocketed away. I live now in a world of shadows that shape and distance color, a world where space makes a terrible kind of sense. What Gnosticism is this, and what physics? The fluttering patch I saw in my nursery window – silver and green and shape-shifting blue – is gone; a row of Lombardy poplars takes its place, mute, across a distant lawn.
The difference between the two ways of seeing is the difference of walking with and without a camera. When I walk with a camera I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment’s light prints on my own silver gut.
(One evening, watching Tinker creek flow under her from a log bridge) … I blurred my eyes and gazed towards the brim of my hat and saw a new world. I saw the pale white circles (petals) roll up, roll up, like the world’s turning, mute and perfect, and I saw the linear flashes (fish), gleaming silver, like stars being born at random down a rolling scroll of time. Something broke and something opened. I filled up like a new wineskin. I breathed an air like light; I saw a light like water. I was the lip of a fountain the creek filled forever; I was ether, the leaf in the zephyr; I was flesh-flake, feather, bone.
When I see this way I see truly. As Thoreau says, I return to my senses.
But I can’t go out and try to see this way. I’ll fail, I’ll go mad. All I can do is try to gag the commentator, to hush the noise of useless interior babble that keeps me from seeing just as surely as a newspaper dangled before my eyes. The effort is really a discipline requiring a lifetime of dedicated struggle; it marks the literature of saints and monks of every order East and West … The world’s spiritual geniuses seem to discover universally that the mind’s muddy river … cannot be dammed … Instead you must allow the muddy river to flow unheeded in the dim channels of consciousness … mildly acknowledging its presence without interest and gazing beyond it into the realm where subjects and objects act and rest purely, without utterance. “Launch into the deep,” says Jacques Ellul, “and you shall see.”
The literature of illumination reveals this above all: although it comes to those who wait for it, it is always, even to the most practiced and adept, a gift and a total surprise … I cannot cause light; the most I can do is try to put myself in the path of its beam. It is possible, in deep space, to sail on solar wind. Light, be it particle or wave, has force: you rig a giant sail and go. The secret of seeing is to sail on solar wind. Hone and spread your spirit till you yourself are a sail, whetted, translucent, broadside to the merest puff.
It was for (the tree with lights in it) I searched through the peach orchards of summer, in the forests of fall and down winter and spring for years. Then one day I was walking along Tinker Creek thinking of nothing at all and I saw the tree with lights in it. I saw the backyard cedar where the mourning doves roost charged and transfigured, each cell buzzing with flame. I stood on the grass with the lights in it, grass that was wholly fire, utterly focused and utterly dreamed. It was less like seeing than like being for the first time seen, knocked breathless by a powerful glance. The flood of fire abated, but I’m still spending the power. Gradually the lights went out in the cedar, the colors died, the cells unflamed and disappeared. I was still ringing. I had been my whole life a bell, and never knew it until at that moment I was lifted and struck. I have since only very rarely seen the tree with lights in it. The vision comes and goes, mostly goes, but I live for it, for the moment when the mountains open and a new light roars in spate through the crack, and the mountains slam.
"On cool autumn nights, eels hurrying to the sea sometimes crawl for a mile or more across dewy meadows to reach streams that will carry them to salt water." These are adult eels, silver eels, and this descent that slid down my mind is the fall from a long spring ascent the eels made years ago. [...] In the late summer of the year they reached maturity, they stopped eating and their dark color vanished. They turned silver; now they are heading to the sea [...where] they will mate, release their eggs, and die. [...] Imagine a chilly night and a meadow; balls of dew droop from the curved blades of grass. [...] Here come the eels. The largest are five feet long. All are silver. They stream into the meadow, sift between grasses and clover, veer from your path. There are too many to count. All you see is a silver slither, like twisted ropes of water falling roughly, a one-way milling and mingling over the meadow and slide to the creek.This is interesting. It's this kind of stuff that kept me reading. There's still a little bit of over-writing in there that I despise, but whatever. Now listen to this next part:
If I saw that sight, would I live? If I stumbled across it, would I ever set foot from my door again? Or would I be seized to join that compelling rush, would I cease eating, and pale, and abandon all to start walking?Blegh! The melodrama! The romanticization! The overly dramatic prose... and why does she always think everything has to do with HER? Almost every time she mentions some natural phenomena, she inevitably ends the thought with some kind of personal revelation or reaction. It's excessive and selfish and human-centric. It's exactly what I don't want to read in a book about nature. She just inserts herself everywhere, as if her thoughts are more important than what is actually going on.
"I was twenty-seven in 1972 when I began writing 'Pilgrim at Tinker Creek.' It is a young writer's book in its excited eloquence and its metaphysical boldness. (Fools rush in.) Using the first person, I tried to be--in Emerson's ever-ludicrous phrase--a transparent eyeball."
"Ezekiel excoriates false prophets as those who have 'not gone up into the gaps.' The gaps are the thing. The gaps are the spirit's one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself for the first time like a once-blind man unbound. The gaps are the clifts in the rock where you cower to see the back parts of God; They are the fissures between mountains and cells the wind lances through, the icy narrowing fiords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock - more than a maple - a universe. This is how you spend this afternoon, and tomorrow morning, and tomorrow afternoon. Spend the afternoon. You can't take it with you."