Pilgrim at Tinker Creek by Annie Dillard
I am not here yet; I can’t shake that day on the interstate. My mind branches and shoots like a tree.
Under my spine, the sycamore roots suck watery salts. Root tips thrust and squirm between particles of soil, probing minutely; from their roving, burgeoning tissues spring infinitesimal root hairs, transparent and hollow, which affix themselves to specks of grit and sip. These runnels run silent and deep; the whole earth trembles, rent and fissured, hurled and drained. I wonder what happens to root systems when trees die. Do those spread blind networks starve, starve in the midst of plenty, and dessicate, clawing at specks?
Under the world’s conifers—under the creek side cedar behind where I sit—a mantle of fungus wraps the soil in a weft, shooting out blind thread after frail thread of palest dissolved white. From root tip to root tip, root hair to root hair, these filaments loop and wind; the thought of them always reminds me of Rimbaud’s “I have stretched cords from steeple to steeple, garlands from window to window, chains of gold from star to star, and I dance.” King David leaped and danced naked before the ark of the Lord in a barren desert. Here the very looped soil is an intricate throng of praise. Make connections; let rip; and dance where you can.
The insects and earthworms, moles, muskrats, roots and fungal strands are not all. An even frailer, dimmer movement, a pavane, is being performed deep under me now. The nymphs of cicadas are alive. You see their split skins, an inch long, brown, and translucent, curved and segmented like shrimp, stuck arching on the trunks of trees. And you see the adults occasionally, large and sturdy, with glittering black and green bodies, veined transparent wings folded over their backs, and artificial-looking, bright red eyes. But you never see the living nymphs. They are underground, clasping roots and sucking the sweet sap of trees.
In the South, the periodical cicada has a breeding cycle of thirteen years, instead of seventeen years as in the North. That a live creature spends thirteen consecutive years scrabbling around in the root systems of trees in the dark and damp—thirteen years!—is amply boggling for me. Four more years—or four less—wouldn’t alter the picture a jot. In the dark of an April night the nymphs emerge, all at once, as many as eighty-four of them digging into the air from every square foot of ground. They inch up trees and bushes, shed their skins, and begin that hollow, shrill grind that lasts all summer. I guess as nymphs they never see the sun. Adults lay eggs in slits along twig bark; the hatched nymphs drop to the ground and burrow, vanish from the face of the earth, biding their time, for thirteen years. How many are under me now, wishing what? What would I think about for thirteen years? They curl, crawl, clutch at roots and suck, suck blinded, suck trees, rain or shine, heat or frost, year after groping year.
And under the cicadas, deeper down than the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there minutely, at the rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass: earth shall be moved.
What else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger: feel the now.
Spring is seeping north, towards me and away from me, at sixteen miles a day. Caribou straggle across the tundra from the spruce-fir forests of the south, first the pregnant does, hurried, then the old and unmated does, then suddenly a massing of bucks, and finally the diseased and injured, one by one. Somewhere, people in airplanes are watching the sun set and peering down at clustered house lights, stricken. In the montana in Peru, on the rain-forested slopes of the Andes, a woman kneels in a dust clearing before a dark shelter of overlapping broad leaves; between her breasts hangs a cross of smooth sticks she peeled with her teeth and lashed with twistings of vine. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain, and to my left, Dead Man Mountain, are eroding one thousandth of an inch a year.
The tomcat that used to wake me is dead; he was long since grist for an earthworm’s casting, and is now the clear sap of a Pittsburgh sycamore, or the honeydew of aphids sucked from that sycamore’s high twigs and sprayed in sticky drops on a stranger’s car. A steer across the road stumbles into the creek to drink; he blinks; he laps; a floating leaf in the current catches against his hock and wrenches away. The giant water bug I saw is dead, long dead, and its moist gut and rigid casing are both, like the empty skin of the frog it sucked, dissolved, spread, still spreading right now, in the steer’s capillaries, in the windblown smatter of clouds overhead, in the Sargasso Sea. The mockingbird that dropped furled from a roof…but this is no time to count my dead. That is night work. The dead are staring, underground, their sleeping heels in the air.
The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. Under the water just around the bend downstream, the coot feels with its foot in the creek, rolling its round red eyes. In the house a spider slumbers at her wheel like a spinster curled in a corner all day long. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. The Polyphemus moth, its wings crushed to its back, crawls down the driveway, crawls down the driveway, crawls…. The snake whose skin I tossed away, whose homemade, personal skin is now tangled at the county dump—that snake in the woods by the quarry stirs now, quickens now, prodded under the leaf mold by sunlight, by the probing root of May apple, the bud of bloodroot. And where are you now?
I stand. All the blood in my body crashes to my feet and instantly heaves to my head, so I blind and blush, as a tree blasts into leaf spouting water hurled up from roots. What happens to me? I stand before the sycamore dazed; I gaze at its giant trunk.
Big trees stir memories. You stand in their dimness, where the very light is blue, staring unfocused at the thickest part of the trunk as though it were a long, dim tunnel—: the Squirrel Hill tunnel. You’re gone. The egg-shaped patch of light at the end of the blackened tunnel swells and looms; the sing of tire tread over brick reaches an ear-splitting crescendo; the light breaks over the hood, smack, and full on your face. You have achieved the past.
Eskimo shamans bound with sealskin thongs on the igloo floor used to leave their bodies, their skins, and swim “muscle-naked” like a flensed seal through the rock of continents, in order to placate an old woman who lived on the sea floor and sent or withheld game. When he fulfilled this excruciating mission, the Eskimo shaman would awake, returned to his skin exhausted from the dark ardors of flailing peeled through rock, and find himself in a lighted igloo, at a sort of party, among dear faces.
In the same way, having bored through a sycamore trunk and tunneled beneath a Pennsylvania mountain, I blink, awed by the yellow light, and find myself in a shady side of town, in a stripped dining room, da
III
Live water heals memories. I look up the creek and here it comes, the future, being borne aloft as on a winding succession of laden trays. You may wake and look from the window and breathe the real air, and say, with satisfaction or with longing, “This is it.” But if you look up the creek, if you look up the creek in any weather, your spirit fills, and you are saying, with an exulting rise of the lungs, “Here it comes!”
Here it comes. In the far distance I can see the concrete bridge where the road crosses the creek. Under that bridge and beyond it the water is flat and silent, blued by distance and stilled by depth. It is so much sky, a fallen shred caught in the cleft of banks. But it pours. The channel here is straight as an arrow; grace itself is an archer. Between the dangling wands of bankside willows, beneath the overarching limbs of tulip, walnut, and Osage orange, I see the creek pour down. It spills toward me streaming over a series of sandstone tiers, down, and down, and down. I feel as though I stand at the foot of an infinitely high staircase, down which some exuberant spirit is flinging tennis ball after tennis ball, eternally, and the one thing I want in the world is a tennis ball.
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 towards 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 any time 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 innocence 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 bears from undisclosed sources the freshest news, renewed and renewing, world without end.
7
Spring
I
When I was quite young I fondly imagined that all foreign languages were codes for English. I thought that “hat,” say, was the real and actual name of the thing, but that people in other countries, who obstinately persisted in speaking the code of their forefathers, might use the word “ibu,” say, to designate not merely the concept hat, but the English word “hat.” I knew only one foreign word, “oui,” and since it had three letters as did the word for which it was a code, it seemed, touchingly enough, to confirm my theory. Each foreign language was a different code, I figured, and at school I would eventually be given the keys to unlock some of the most important codes’ systems. Of course I knew that it might take years before I became so fluent in another language that I could code and decode easily in my head, and make of gibberish a nimble sense. On the first day of my first French course, however, things rapidly took on an entirely unexpected shape. I realized that I was going to have to learn speech all over again, word by word, one word at a time—and my dismay knew no bounds.
The birds have started singing in the valley. Their February squawks and naked chirps are fully fledged now, and long lyrics fly in the air. Birdsong catches in the mountains’ rim and pools in the valley; it threads through forests, it slides down creeks. At the house a wonderful thing happens. The mockingbird that nests each year in the front-yard spruce strikes up his chant in high places, and one of those high places is my chimney. When he sings there, the hollow chimney acts as a sound box, like the careful emptiness inside a cello or violin, and the notes of the song gather fullness and reverberate through the house. He sings a phrase and repeats it exactly; then he sings another and repeats that, then another. The mockingbird’s invention is limitless; he strews newness about as casually as a god. He is tireless, too; towards June he will begin his daily marathon at two in the morning and scarcely pause for breath until eleven at night. I don’t know when he sleeps.
When I lose interest in a given bird, I try to renew it by looking at the bird in either of two ways. I imagine neutrinos passing through its feathers and into its heart and lungs, or I reverse its evolution and imagine it as a lizard. I see its scaled legs and that naked ring around a shiny eye; I shrink and deplume its feathers to lizard scales, unhorn its lipless mouth, and set it stalking dragonflies, cool-eyed, under a palmetto. Then I reverse the process once again, quickly; its forelegs unfurl, its scales hatch feathers and soften. It takes to the air seeking cool forests; it sings songs. This is what I have on my chimney; it might as well keep me awake out of
Some reputable scientists, even today, are not wholly satisfied with the notion that the song of birds is strictly and solely a territorial claim. It’s an important point. We’ve been on earth all these years and we still don’t know for certain why birds sing. We need someone to unlock the code to this foreign language and give us the key; we need a new Rosetta stone. Or should we learn, as I had to, each new word one by one? It could be that a bird sings I am sparrow, sparrow, sparrow, as Gerard Manley Hopkins suggests: “myself it speaks and spells, Crying What I do is me: for that I came.” Sometimes birdsong seems just like the garbled speech of infants. There is a certain age at which a child looks at you in all earnestness and delivers a long, pleased speech in all the true inflections of spoken English, but with not one recognizable syllable. There is no way you can tell the child that if language had been a melody, he had mastered it and done well, but that since it was in fact a sense, he had botched it utterly.
Today I watched and heard a wren, a sparrow, and the mockingbird singing. My brain started to trill why why why, what is the meaning meaning meaning? It’s not that they know something we don’t; we know much more than they do, and surely they don’t even know why they sing. No; we have been as usual asking the wrong question. It does not matter a hoot what the mockingbird on the chimney is singing. If the mockingbird were chirping to give us the long-sought formulae for a unified field theory, the point would be only slightly less irrelevant. The real and proper question is: Why is it beautiful? I hesitate to use the word so baldly, but the question is there. The question is there since I take it as given, as I have said, that beauty is something objectively performed—the tree that falls in the forest—having being externally, stumbled across or missed, as real and present as both sides of the moon. This modified lizard’s song welling out of the fireplace has a wild, utterly foreign music; it becomes more and more beautiful as it becomes more and more familiar. If the lyric is simply “mine mine mine,” then why the extravagance of the score? It has the liquid, intricate sound of every creek’s tumble over every configuration of rock creek-bottom in the country. Who, telegraphing a message, would trouble to transmit a five-act play, or Coleridge’s “Kubla Khan,” and who, receiving the message, could understand it? Beauty itself is the language to which we have no key; it is the mute cipher, the cryptogram, the uncracked, unbroken code. And it could be that for beauty, as it turned out to be for French, that there is no key, that “oui” will never make sense in our language but only in its own, and that we need to start all over again, on a new continent, learning the strange syllables one by one.