By John R. Campbell
A set of forty four prose meditations encouraged via the transitory and bird-rich surroundings of the Klamath marshes at the Oregon/California border. "In order to simply accept the big accountability that comes of being on this planet, we needs to first conceive, inspite of the entire stumbling blocks, the nation of truly being the world." it truly is for that reason that John R. Campbell got here to the Klamath marshes, a wetland in southern Oregon shaped through 3 old, shallow lakes, an enormous vacancy that's mockingly domestic to an grand range of existence, of untold millions of birds either migratory and resident, of the entire interconnected lifestyles types that make up one in all North America's richest traditional environments. Absence and light-weight is Campbell's account of his exploration of the marshes and a meditation at the global he came across there, on his growing to be knowing of the actual, emotional, ethical, and aesthetic which means of that global, on his personal development as a guy. via Campbell's eyes, we become aware of the stirring and awesome great thing about the marshes and their creatures, and the utter poignancy in their fragility ahead of the heedless targets of humankind. this is often nature writing at its so much profound and relocating, writing that during interpreting and defining the area of nature is helping us to appreciate the very advanced and contradictory realities of being human. Campbell's luminous descriptions and mystical insights will lengthy linger within the reader's reminiscence.
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Extra resources for Absence And Light: Meditations From The Klamath Marshes (Environmental Arts and Humanities)
As Barry Lopez says, “The edges of any landscape—horizons, the lip of a valley, the bend of a river around a canyon wall—quicken an observer’s expectations. ” Perhaps, in the case of my father, the twilit places were best attained in intoxication. But out here in the real marshes, the death that life and all liminality require will not be denied. Death is the one sure place. Once we pass over the little chasm, we are no longer between. I love the wild in order to recognize this, to one day embrace my own death with silent abandon.
I am moved, at this moment, by the casual drift of the cottony seeds, the blend of purpose and serendipity, like a waltz. And like any dance, my movement with the event is framed in time: I am constantly removed from the cottonwood, my experience dispersing like the fuzz-coated seeds. ). There’s an artful quality to my removal, an intensity. ” Again, there’s repetition, but each repetition transforms the event into something else, something once (again) removed. I have description: a woody barrel of water, four or šve feet in diameter, one hundred feet tall.
I’ve seen snow geese arrive from the North, their bodies dazzling, their pristine wings trimmed elegantly with black. These western spaces are inhabited by geese, by cranes almost the size of humans. Water and grain attract them as they stage for their journey. If we allow it, a few inches of water can contain all of history. Whole worlds can shimmer in layers and folds just above the marsh. Whether or not one ever visits the Klamath Basin, one can inhabit this place as spirit, whether a political presence, a moral presence, or a purely natural presence.
Absence And Light: Meditations From The Klamath Marshes (Environmental Arts and Humanities) by John R. Campbell