“I could not give up either of these worlds, neither the book I am holding nor the gleaming forest, though I have told you almost nothing of what is said here on these grim pages, from the sentences of which I’ve conjured images of a bleak site years ago. Here in this room, I suppose, is to be found the interior world of the book; but it opens upon a world beyond the windows, where no event has been collapsed into syntax, where the vocabulary, it seems, is infinite. The indispensable connection for me lies with the open space (of the open window ajar year round, never closed) that lets the breath of every winter storm, the ripping wind and its pelting rain, enter the room.”

“In Antartica, The Wright and half a dozen other valleys in the Central Transantarctic Mountains are collectively referred to as the dry valleys. It has not rained here in two million years. No animal abides, no plant grows. A persistent, sometimes ferocious wind has stripped the country to stone and gravel, to streamers of sand. The huge valleys stand stark as empty fjords. You look in vain for any conventional sign of human history- the vestige of a protective wall, a bit of charcoal, a discarded arrowhead. Nothing. There is no history, until you bore into the layers of rock or until the balls of your fingertips run the rim of a partially exposed fossil. At the height of the austral summer, in December, you smell nothing but the sunbeaten stone. In a silence dense as water, your eye picks up no movement but the sloughing of sand, seeking its angle of repose. On the flight in from New Zealand it had occurred to me, from what I had read and heard, that Antarctica retained Earth’s primitive link, however tenuous, with space, with the void that stretched out to Jupiter and Uranus. At the seabird rookeries of the Canadian Arctic or on the grasslands of the Serengeti, you can feel the vitality of the original creation; in the dry valleys you sense sharply what came before. The Archeozoic is like fresh spoor here.”

“Every story is an act of trust between a writer and a reader: each story, in the end, is social. Whatever a writer sets down can help or harm a community of which he or she is a part. When I write I can imagine a child in California wishing to give away what he’s just seen- a wild animal fleeing though creosote cover in the desert, casting a bright-eyed backward glance or three lines of overheard conversation that seem to contain everything we need understand to repair the gaping rift between body and soul. I look back at that boy turning in glee beneath his pigeons and know it can take a lifetime to convey what you mean, to find the opening. You watch, you set it down. Then you try again.”

“Up there in that room, as I see it, is the reading and the thinking-through, a theory of rivers, of trees moving, of falling light. Here on the river, as I lurch against a freshening of the current, is the practice of rivers. In navigating by the glow of the Milky Way, the practice of light. In steadying with a staff, the practice of wood.”

“I watched the enormity of the clouds for several minutes. What I wanted to experience in the water, I realized, was how life of the reef was layered and intertwined. I now had many individual pieces at hand: named images, nouns. How were they related? What were the verbs? Which syntaxes were indigenous to the place? I asked a dozen knowledgeable people. No one was inclined to elaborate- or they didn’t know. “Did you see the octopus?” Someone shouted after the dive. Yes, I thought, but who among us knows what it was doing? What else was THERE, just then? WHY?”

“When the stories were over, four or five of us walked out the home of our host. The surrounding land, in the persistent light of a far northern summer, was still visible for miles--striated, pitched massifs of the Brooks Range; the shy, willow-lined banks of the John River flowing south from Anaktuvuk Pass; and the flat tundra plain, opening with great affirmation to the north. The landscape seemed alive because of the stories. It was precisely these ocherous tones, the kind of willow, exactly this austerity that had informed the wolverine narratives. I felt exhilaration, and a deeper confirmation of what I had heard. The mundane task that awaited me I anticipated now with pleasure. The stories had renewed in me a sense of the purpose of my life.”

“The evening before I departed I stood on the rim of a lagoon on Isla Rabida. Flamingos rode on its dark surface like pink swans, apparently asleep. Small, curved feathers, shed from their breasts, drifted away from them over the water on a light breeze. I did not move for an hour. It was a moment of such peace, every troubled thread in a human spirit might have uncoiled and sorted itself into a graceful order. Other flamingos stood in the shallows with diffident elegance in the falling light, not feeding but only staring off toward the ocean. They seemed a kind of animal I had never quite seen before.”