The Abundance

by Annie Dillard

  I have been thinking about weasels because I saw one last week. I startled a weasel who startled me, and we exchanged a long glance.

  Near my house in Virginia is a pond—Hollins Pond. It covers two acres of bottomland near Tinker Creek with six inches of water and six thousand lily pads. There is a fifty-five-mile-per-hour highway at one end of the pond, and a nesting pair of wood ducks at the other. Under every bush is a muskrat hole or a beer can. The far end is an alternating series of fields and woods—fields and woods, threaded everywhere with motorcycle tracks—in whose bare clay wild turtles lay eggs.

  One evening last week at sunset, I walked to the pond and sat on a downed log near the shore. I was watching the lily pads at my feet tremble and part over the thrusting path of a carp. A yellow warbler appeared to my right and flew behind me. It caught my eye; I swiveled around—and the next instant, inexplicably, I was looking down at a weasel, who was looking up at me.

  Weasel! I had never seen one wild before. He was ten inches long, thin as a curve, a muscled ribbon, brown as fruitwood, soft-furred, alert. His face was fierce, small and pointed as a lizard’s; he would have made a good arrowhead. There was just a dot of chin, maybe two brown hairs’ worth, and then the pure white fur spreading down his underside. He had two black eyes I could not see, any more than you see a window.

  The weasel was stunned into stillness as he was emerging from beneath an enormous shaggy wild rosebush four feet away. I was stunned into stillness, twisted backward on the tree trunk. Our eyes locked, and someone threw away the key.

  Our look was as if two lovers, or deadly enemies, met unexpectedly on an overgrown path when each had been thinking of something else: a clearing blow to the gut. It was a bright blow to the brain, a sudden beating of brains, with all the charge and intimate grate of rubbed balloons. It emptied our lungs. It felled the forest, moved the fields, and drained the pond; the world dismantled and tumbled into that black hole of eyes.

  He disappeared. This was just last week, and already I can’t recall what shattered the enchantment. I think I blinked, I think I retrieved my brain from the weasel’s brain, and tried to memorize what I was seeing, and the weasel felt the yank of separation, the careening splashdown into real life and urgent current of instinct. He vanished under the wild rose. I waited motionless, my mind suddenly full of data and my spirit with pleadings, but he didn’t return.

  Please do not tell me about “approach-avoidance conflicts.” I tell you I’ve been in that weasel’s brain for sixty seconds, and he was in mine. Brains are private places, muttering through unique and secret tapes—but the weasel and I, for a sweet and shocking time, both plugged into another tape altogether. Can I help it if it was a blank?

  What goes on in his brain the rest of the time? What does a weasel think about? He won’t say. His journal is tracks in clay, a spray of feathers, mouse blood and bone: uncollected, unconnected, loose-leaf, and blown.

  I would like to learn, or remember, how to live. I come to Hollins Pond not so much to learn how to live as, frankly, to forget about it. That is, I don’t think I can learn from a wild animal how to live in particular—shall I suck warm blood, hold my tail high, walk with my footprints precisely over the prints of my hands?—but I might learn something of mindlessness, something of the purity of living in the physical senses and the dignity of living without bias or motive. The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons. I would like to live as I should, as the weasel lives as he should: open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will.

  I missed my chance. I should have gone for the throat. I should have lunged for that streak of white under the weasel’s chin and held on, held on through mud and into the wild rose, held on for a dearer life. We could lie under the wild rose wild as weasels, mute and uncomprehending. I could very calmly go wild. I could live two days in the den, curled, leaning on mouse fur, sniffing bird bones, blinking, licking, breathing musk, my hair tangled in the roots of grasses. Down is a good place to go, where the mind is single. Down is out, out of your ever-loving mind and back to your careless senses.

  I remember muteness as a prolonged and giddy fast, where every moment is a feast of utterance received. Time and events are merely poured, unremarked, and ingested directly, like blood pulsed into my gut through a jugular vein. Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow?

  We could, you know. We can live any way we want. People take vows of poverty, chastity, and obedience—even of silence—by choice. The thing is to stalk your calling in a certain skilled and supple way, to locate the most tender and live spot and plug into that pulse. This is yielding, not fighting. A weasel doesn’t “attack” anything; a weasel lives as he’s meant to, yielding at every moment to the perfect freedom of single necessity.

  I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you’re going no matter how you live, cannot you part. Seize it and let it seize you up aloft even, till your eyes burn out and let your very bones unhinge and scatter, loosened over fields, over fields and woods, lightly, thoughtless, from any height at all, from as high as eagles.

  HOLY THE FIRM

  PAGANISM

  EVERY DAY IS A GOD, each day is a god, and holiness holds forth in time. I worship each god, I praise each day splintered down, splintered down and wrapped in time like a husk, a husk of many colors spreading at dawn fast over the mountains split.

  I wake in a god. I wake in arms holding my quilt, holding me as best they can inside my quilt.

  Someone is kissing me—already. I wake, I cry “Oh.” I rise from the pillow. Why should I open my eyes?

  I open my eyes. The god lifts from the water. His head fills the bay. He is Puget Sound, the Pacific; his breast rises from pastures; his fingers are firs; islands slide wet down his shoulders. Islands slip blue from his shoulders and glide over the water, the empty, lighted water like a stage.

  Today’s god rises, his long legs flecked in clouds. He flings his arms, spreading colors; he arches, cupping sky in his belly; he vaults, vaulting and spread, holding all and spread on me like skin.

  Under the quilt in my knees’ crook is a cat. She wakes, too, and turns to bite her metal sutures. The day is real; already, I can feel it click, hear it clicking under my knees.

  The day is real; the sky clicks securely in place over the mountains, locks round the islands, snaps slap on the bay. Air fits flush on farm roofs; it rises inside the doors of bars and rubs at dull barn windows. Air clicks up my hand cloven into fingers and wells my ears’ holes, whole and entire. I call it simplicity, the way matter is smooth and alone.

  I toss the cat. I stand and shake the quilt. “Oh,” I cry. “Oh!”

  There is a spider, too, in the bathroom, with whom I keep a sort of company. Her little outfit always reminds me of a certain moth I helped to kill. The spider herself is of uncertain lineage, bulbous at the abdomen and drab. Her six-inch mess of a web works, works somehow, works miraculously, to keep her alive and me amazed. The web is in a corner behind the toilet, connecting the tile wall to tile wall and floor, in a place where there is, I would have thought, scant traffic. Yet under the web are sixteen or so corpses she has tossed to the floor.

  The corpses appear to be mostly sow bugs, those little armadillo creatures who live to travel flat out in houses, and die round. There is also a new shred of earwig, three old spider skins crinkled and clenched, and two moth bodies, wingless and huge and empty, moth bodies I drop to my knees to see.

  Today the earwig shines darkly and gleams, what there is of him: a dorsal curve of thorax and abdomen, and a smooth pair of cerci by which I know his name. Next week,
if the other bodies are any indication, he will be shrunken and gray, webbed to the floor with dust. The sow bugs beside him are hollow and lack color, fragile, a breath away from fluff. The spider skins lie on their sides, translucent and ragged: Their legs dry in knots. And the moths are empty moths, stagger against each other, headless, in a mess of arcing strips of chitin like peeling varnish, like a jumble of buttresses for cathedral domes, like nothing resembling moths, so that I should hesitate to call them moths, except that I have seen a moth reduced to a nub.

  Two summers ago I was camping alone in the Blue Ridge Mountains in Virginia. I had hauled myself and my gear up there to read, among other things, James Ramsey Ullman’s The Day on Fire, a novel about Rimbaud that had made me want to write when I was sixteen; I was hoping it would do the same now. So I read, lost, every day sitting under a tree by my tent, while warblers swung in the leaves overhead and bristle worms trailed their inches over the twiggy dirt at my feet; and I read every night by candlelight, while barred owls called in the forest and pale moths massed around my head in the clearing where my light made a ring.

  Moths kept flying into the candle. They would hiss and recoil, lost upside down in the shadows among cookware. Or they would singe their wings and fall, and their hot wings, as if melted, would stick to the first thing they touched—a pan, a lid, a spoon—so that the snagged moths could flutter only in tiny arcs, unable to break free. These I could release by a flip with a stick. In the morning I would find my cooking stuff gilded with torn flecks of moth wings, triangles of shiny dust here and there on the aluminum. So I read, and boiled water, and replenished candles, and read on.

  One night a moth flew into the candle, was caught, burnt dry, and held. I must have been staring at the candle, or maybe I looked up from the shadow that crossed my page; at any rate, I saw it all. A golden female moth, a biggish one with a two-inch wingspan, flapped into the fire, dropped her abdomen into the wet wax—stuck, flamed, frazzled, and fried in a second. Her moving wings ignited like tissue paper, enlarging the circle of light in the clearing and creating out of the darkness the sudden blue sleeves of my sweater, the green leaves of jewelweed by my side, the ragged red trunk of a pine. At once the light contracted again and the moth’s wings vanished in a fine, foul smoke. At the same time her six legs clawed, curled, blackened, and ceased, disappearing utterly. And her head jerked in spasms, making a spattering noise; her antennae crisped and burned away and her heaving mouth parts cracked like pistol fire. When it was all over, her head was, so far as I could determine, gone, gone the long way of her wings and legs. Had she been new, or old? Had she mated and laid her eggs, had she done her work? All that remained was the glowing horn shell of her abdomen and thorax—a fraying, partially collapsed gold tube jammed upright in the candle’s round pool.

  And then this moth-essence, this spectacular skeleton, began to act as a wick. She kept burning. The wax rose in the moth’s body from her soaking abdomen to her thorax to the jagged hole where her head should be, and widened into flame, a saffron-yellow flame that robed her to the ground like any immolating monk. That candle had two wicks, two flames of identical height, side by side. The moth’s head was fire. She burned for two hours, until I blew her out.

  She burned for two hours without changing, without bending or leaning—only glowing within, like a building fire glimpsed through silhouetted walls, like a hollow saint, like a flame-faced virgin gone to God, while I read by her light, kindled, while Rimbaud in Paris burnt out his brains in a thousand poems, while night pooled wet at my feet.

  And that is why I believe those hollow crisps on the bathroom floor are moths. I think I know moths, and fragments of moths, and chips and tatters of utterly empty moths, in any state. How many of you, I asked the people in my long-ago class, how many of you want to give your lives and be writers? I was trembling from coffee, or cigarettes, or the closeness of faces all around me. (Is this what we live for? I thought; is this the only final beauty: the color of any skin in any light, and living, human eyes?) All hands rose to the questions. (You, Nick? Will you? Margaret? Randy? Why do I want them to mean it?) And then I tried to tell them what the choice must mean: You can’t be anything else. You must go at your life with a broadax. . . . They had no idea what I was saying. (I have two hands, don’t I? And all this energy, for as long as I can remember. I’ll do it in the evenings, after skiing, or on the way home from the bank, or after the children are asleep . . .) They thought I was raving again. It’s just as well.

  I have three candles here on the table which I free from the plants and light when visitors come. The cat usually avoids them, although once she came too close and her tail caught fire; I rubbed it out before she noticed. The flames move light over everyone’s skin, draw light to the faces of my friends. When the people leave I never blow the candles out and after I’m asleep they flame and burn.

  The Cascade Range, in these high latitudes, backs almost into the water. There is only a narrow strip before it, an afterthought of foothills and farms sixty miles wide. The mountains wall well. The rest of the country—most of the rest of the planet, in some real sense, excluding a shred of British Columbia’s coastline and the Alaskan islands—is called, and profoundly felt to be, simply “East of the Mountains.” I’ve been there.

  I came here to study hard things—rock mountain and salt sea—and to temper my spirit on their edges. These mountains—Mount Baker and the Sisters and Shuksan, the Canadian Coastal Range and the Olympics on the Peninsula—are surely the edge of the known and comprehended world. They are high. That they bear their own unimaginable masses and climates aloft, holding them up in the sky for anyone to see plain, makes them only more mysterious for their very visibility and absence of secrecy. They are the western rim of the real, if not considerably beyond it. If the Greeks had looked at Mount Baker all day, would their large and honest art not have cracked? Would they not have gone fishing, as these people do? As perhaps I one day shall.

  But the mountains are, incredibly, east. When I first came here I faced east and watched the mountains, thinking, These are the Ultima Thule, the final westering, the last serrate margin of time. And since they are, incredibly, east of me, I must be no place at all. But the sun rose over the snowfields and woke me where I lay, and I rose and cast a shadow over someplace, and thought: There is, God help us, more. So gathering my bowls and spoons, and turning my head, as it were, I moved to face west, relinquishing all hope of sanity, for what is more.

  What was more is islands: sea, and unimaginably solid islands, and more sea, and a hundred rolling skies. You spill your breath. Nothing holds; the whole show rolls. I can imagine Virginias no less than Pacifics. Inland valley, pool, desert, plain—it’s all a falling sheaf of edges, like a quick-flapped deck of cards, like a dory or a day launched all unchristened, lost at sea. Land is a poured thing and time a surface lapping and fringeing at fastness, at a hundred hollow and receding blues. Breathe fast: We’re backing off the rim.

  Here is the fringey edge where elements meet and realms mingle, where time and eternity spatter each other with foam. The salt sea and the islands, molding and molding, row upon rolling row, don’t quit; nor do winds end nor skies cease from spreading in curves. The actual percentage of land mass to sea in Puget Sound equals that of the rest of the planet. We have less time than we knew. Time is eternity’s pale interlinear, as the islands are the sea’s. We have less time than we knew and that time buoyant and cloven, lucent, and missile, and wild.

  The room where I live is plain as a skull, a firm setting for windows. A nun lives in the fires of the spirit, a thinker lives in the bright wick of the mind, an artist lives jammed in the pool of materials. But this room is a skull, a fire tower, wooden, and empty. Of itself it is nothing, but the view, as they say, is good.

  Since I live in one room, one long wall of which is glass, I am myself, at everything I do, a backdrop to all the landscape’s occasions, all its weathers, colors, and lights. From the kitchen sink, and fr
om my bed, and from the table, couch, hearth, and desk, I see land and water, islands, sky.

  The land is complex and shifting; the eye leaves it. There is a white Congregationalist church among Douglas firs; there is a green pasture between two yellow fallow fields; there are sheep bent over below some alders, and beside them a yard of brown hens. But everything in the landscape points to sea. The land’s progress of colors leads the eye up a far hill, a sweeping big farm of a hill whose pale pastures bounce light all day from a billion stems and blades. Down the hill’s rim drops a dark slope of forest, a slant your eye rides down to the point, the dark sliver of land that holds the bay. From this angle you see the bay cut a crescent; your eye flies up the black beach to the point, or slides down the green firs to the point, and the point is an arrow pointing over and over, with its log-strewn beach, its gray singleness, and its recurved white edging of foam, to sea: to bright Haro Strait, the bluing of water with distance at the world’s edge, and on it the far blue islands, and over these lights the light clouds.

  You can’t picture it, can you? Neither can I. Oh, the desk is yellow, the oak table round, the ferns alive, the mirror cold, and I never cared. I read. In the Middle Ages, I read, “the idea of a thing which a man framed for himself was always more real to him than the actual thing itself.” Of course. I am in my own Middle Ages; the world at my feet, the world through the window, is an illuminated manuscript whose leaves the wind takes, one by one, whose painted illuminations and halting words draw me, one by one, and I am dazzled in day and lost.