The Gift of Seeing What's There

From Robert Hass's "An Oak Grove," which appears in What Light Can Do: Essays on Art, Imagination, and the Natural World:

One of the gifts people who teach can give to students is a sense of complexity, because desire tends to simplify what it sees. We are usually, left to ourselves, egrets fishing through our smeared reflections. Another thing teachers can give them is the gift of seeing what’s there. They can give them some of the skills of distinction, discrimination, and description and give them concepts of enormous power to refine and organize their seeing. Seeing what’s there usually requires patient observation and the acquisition of particular skills and disciplines—not that those things guarantee our seeing clearly or freshly. Often in both the arts and the sciences, we see what’s there in a flash, but it has taken us hours or years of patient labor to get there and then to name what we have seen. 

The Unknowns That Pull at You

From Nicholson Baker's short essay "Mowing":

Finding things out: there is an infinitude of things you don't know, but it's not a very interesting infinitude, because it has no grain. Only some of the unknown things, a much smaller subset, are things that you are aware of not knowing, and then within that subset is a smaller set still—the unknowns that pull at you. Curiosity is a way of ordering and indeed paring down the wildness of the world. Of all the unmown fields, all the subjects I don't know anything about, this one right here is the one I would like to pursue. Why? Because nobody else is, and because it happens to be whole if I pursue this topic, knowing that it is obscure enough that nobody would be foolish enough to duplicate my efforts. I will mow my own lawn, part of it, anyway.

D'Agata: "Those With Faith in Withheld Meanings"

And while I wasn't born there, and have since then moved away, during the summer I lived in Vegas I began to feel those claims, appealing in their hopefulness the way parades appeal, the way a list appeals to those with faith in withheld meanings: the dream that if we linger long enough with anything, the truth of its significance is bound to be revealed. 

 —John D'Agata, About a Mountain

Julian Barnes's "Shipwreck": Disaster & Art

Last week in Ann Arbor and again today, home in New York, I thought of "Shipwreck," a chapter in Julian Barnes's A History of the World in 10 1/2 Chapters. I was first introduced to the chapter and the book seven years ago by the writer Eileen Pollack, and I've taught it in nonfiction classes a few times since. Tonight I went back and read "Shipwreck" for the first time in a while.

Barnes published it  in The New Yorker in 1989 as a short story, but it could easily have been called an essay--or a history. Let's call it a story in two parts. The first part artfully but dispassionately narrates the wreck of a French ship, the Medusa, in 1816. A taste:

By misfortune, they had struck the reef at high tide, and, the seas becoming violent, attempts to free the ship failed. The frigate was assuredly lost. Since the boats it carried were not capacious enough to contain the whole personnel, it was decided to build a raft and embark upon it those who could not be put into boats. The raft would then be towed to the shore and all would be saved. This plan was perfectly well laid; but, as two of the company were later to affirm, it was traced upon loose sand, which was dispersed by the breath of egotism.

Before those "two of the company" are rescued from their hellish raft,  a great deal of dying and a fair portion of cannibalism has taken place. It's a masterful, suspenseful bit of narrative history, this first part, but what keeps me returning to "Shipwreck" is the second part of Barnes's story, a sort of making-of documentary about the famous painting, by Géricault, that the wreck of the Medusa inspired.

Teju Cole on the Insular City of the Manhattoes

"This strangest of islands, I thought, as I looked out to the sea, this island that turned in on itself, and from which water had been banished. The shore was a carapace, permeable only at certain selected points. Where in this riverine city could one fully sense a riverbank? Everything was built up, in concrete and stone, and the millions who lived on the tiny interior had a scant sense about what flowed around them. The water was a kind of embarrassing secret, the unloved daughter, neglected, while the parks were doted on, fussed over, overused. I stood on the promenade and looked out across the water into the unresponsive night. All was quiet and lights called from the Jersey Shore across. A pair of joggers sailed softly toward me, and past me. Along South End, facing the water, there were rows of townhouses, small shops, and a little, round gazebo choked with vines and bushes. Out, ahead of me, in the Hudson, there was just the faintest echo of the old whaling ships, the whales, and the generations of New Yorkers who had come here to the promenade to watch the wealth and sorrow flow into the city or simply to see the light play on the water. Each one of those past moments was present now as a trace."

—Open City

Chatwin: "Australia"

"In my childhood I never heard the word 'Australia' without calling to mind the fumes of the eucalyptus inhaler and an incessant red country populated by sheep." --Bruce Chatwin, The Songlines

Babel: Other Adventures

"Because, in order to accomplish the things I must do, I will have to travel a lot in the forthcoming years and face some other adventures. But that can't be helped. I have picked a hellish trade." --Isaac Babel, in a letter to his sister, December 20, 1926