A Field Guide to Getting Lost

by Rebecca Solnit

  Nineteenth-century Americans seldom seem to have gotten lost as disastrously as the strays and corpses picked up by search-and-rescue teams. I went looking for their tales of being lost and found that being off course for a day or a week wasn’t a disaster for those who didn’t keep a tight schedule, knew how to live off the land, how to track, how to navigate by heavenly bodies, waterways, and word-of-mouth in those places before they were mapped. “I never was lost in the woods in my whole life,” said Daniel Boone, “though once I was confused for three days.” For Boone the distinction is a legitimate one, since he could eventually get himself back to where he knew where he was and knew what to do betweentimes. Sacajawea’s celebrated role on the Lewis and Clark expedition wasn’t primarily that of a navigator; she made their being lost more viable by her knowledge of useful plants, of languages, by the way she and her infant signified to the tribes they encountered that this was not a war party, and perhaps by her sense that all this was home, or somebody’s home. Like her, a lot of the white scouts, trappers, and explorers were at home in the unknown, for though the particular place might be unfamiliar to them, the wild was in many cases their chosen residence. Explorers, the historian Aaron Sachs wrote me in answer to a question, “were always lost, because they’d never been to these places before. They never expected to know exactly where they were. Yet, at the same time, many of them knew their instruments pretty well and understood their trajectories within a reasonable degree of accuracy. In my opinion, their most important skill was simply a sense of optimism about surviving and finding their way.” Lost, these people I talked to helped me understand, was mostly a state of mind, and this applies as much to all the metaphysical and metaphorical states of being lost as to blundering around in the backcountry.

  The question then is how to get lost. Never to get lost is not to live, not to know how to get lost brings you to destruction, and somewhere in the terra incognita in between lies a life of discovery. Along with his own words, Sachs sent me a chunk of Thoreau, for whom navigating life and wilderness and meaning are the same art, and who slips subtly from one to the other in the course of a sentence. “It is a surprising and memorable, as well as valuable, experience to be lost in the woods any time,” he wrote in Walden. “Not till we are completely lost, or turned round,—for a man needs only to be turned round once with his eyes shut in this world to be lost,—do we appreciate the vastness and strangeness of nature. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations.” Thoreau is playing with the biblical question about what it profits a man if he gains the whole world and loses his own soul. Lose the whole world, he asserts, get lost in it, and find your soul.

  “How will you go about finding that thing the nature of which is totally unknown to you?” I carried Meno’s question around with me for years and then, when everything was going wrong, friends came bearing stories, one after another, and they seemed to provide, if not answers, at least milestones and signposts. Out of the blue, May sent me a long passage by Virginia Woolf she’d copied in round black letters on thick unlined paper. It was about a mother and wife alone at the end of the day: “For now she need not think about anybody. She could be herself, by herself. And that was what now she often felt the need of—to think; well, not even to think. To be silent; to be alone. All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others. Although she continued to knit, and sat upright, it was thus that she felt herself; and this self having shed its attachments was free for the strangest adventures. When life sank down for a moment, the range of experience seemed limitless. . . . Beneath it is all dark, it is all spreading, it is unfathomably deep; but now and again we rise to the surface and that is what you see us by. Her horizon seemed to her limitless.”

  That passage from To the Lighthouse echoed something of Woolf ’s I already knew, her essay about walking that declared, “As we step out of the house on a fine evening between four and six, we shed the self our friends know us by and become part of that vast republican army of anonymous trampers, whose society is so agreeable after the solitude of one’s room. . . . Into each of these lives one could penetrate a little way, far enough to give one the illusion that one is not tethered to a single mind, but can put on briefly for a few minutes the bodies and minds of others.” For Woolf, getting lost was not a matter of geography so much as identity, a passionate desire, even an urgent need, to become no one and anyone, to shake off the shackles that remind you who you are, who others think you are. This dissolution of identity is familiar to travelers in foreign places and remote fastnesses, but Woolf, with her acute perception of the nuances of consciousness, could find it in a stroll down the street, a moment’s solitude in an armchair. Woolf was not a romantic, not a celebrant of that getting lost that is erotic love, in which the beloved becomes an invitation to become who you secretly, dormantly, like a locust underground waiting for the seventeen-year call, already are in hiding, that love for the other that is also a desire to reside in your own mystery in the mystery of others. Her getting lost was solitary, like Thoreau’s.

  Malcolm, apropos of nothing at all, brought up the Wintu in north-central California, who don’t use the words left and right to describe their own bodies but use the cardinal directions. I was enraptured by this description of a language and behind it a cultural imagination in which the self only exists in reference to the rest of the world, no you without mountains, without sun, without sky. As Dorothy Lee wrote, “When the Wintu goes up the river, the hills are to the west, the river to the east; and a mosquito bites him on the west arm. When he returns, the hills are still to the west, but, when he scratches his mosquito bite, he scratches his east arm.” In that language, the self is never lost the way so many contemporary people who get lost in the wild are lost, without knowing the directions, without tracking their relationship not just to the trail but to the horizon and the light and the stars, but such a speaker would be lost without a world to connect to, lost in the modern limbos of subways and department stores. In Wintu, it’s the world that’s stable, yourself that’s contingent, that’s nothing apart from its surroundings.

  I never heard of a stronger sense of place and direction, but that directional consciousness is embedded in a language almost lost. A decade ago there were six to ten speakers of Wintu, six people fluent in a language in which the self was not the autonomous entity we think we are when we carry our rights and lefts with us. The last fluent speaker of northern Wintu, Flora Jones, died in 2003, but the man who e-mailed me that information, Matt Root, mentioned that three Wintu people and one Pit River neighbor “retain fractions of the old Wintu slang and pronunciation system.” He himself studied the language and hoped that it would be revived, so that his people would “begin to make connections with their past through our language. The Wintu world view is indeed unique, it is our intimacy with our habitat that complements this uniqueness, and it is thru the eventual reintroduction of people, place, culture, and history that will begin to heal the long held scars of removal and outright genocide. The precursors to the loss of language today.” Or as a recent article about the hundred rapidly vanishing indigenous languages of California put it, “Such language differentiation may be tied to ecological differentiation. In this view, people adapted their words to the ecological niches they occupied, and California’s highly varied ecology encouraged its lingustic diversity. The theory is supported by maps indicating that areas with greater numbers of animal and plant species also have greater numbers of languages.”

  It would be nice to imagine that the Wintu were once so perfectly situated in a world of known boundaries that they had no experience of being lost, but their neighbors to the north, the Pit River or Achumawi people, suggest that this was probably not so. One day I went to meet friends at a performance i
n a city park, but when I could not find them in the crowd, I wandered into a used bookstore and found an old book. In it, Jaime de Angulo, the wild Spanish storytelleranthropologist who eighty years ago spent considerable time among these people, wrote, “I want to speak now of a certain curious phenomenon found among the Pit River Indians. The Indians refer to it in English as ‘wandering.’ They say of a certain man, ‘He is wandering, ’ or ‘He has started to wander.’ It would seem that under certain conditions of mental stress an individual finds life in his accustomed surroundings too hard to bear. Such a man starts to wander. He goes about the country, traveling aimlessly. He will stop here and there at the camps of friends or relations, moving on, never stopping at any place longer than a few days. He will not make any outward show of grief, sorrow or worry. . . . The Wanderer, man or woman, shuns camps and villages, remains in wild, lonely places, on the tops of mountains, in the bottoms of canyons.” This wanderer isn’t so far from Woolf, and she too knew despair and the desire for what Buddhists call unbeing, the desire that finally led her to walk into a river with pockets full of rocks. It’s not about being lost but about trying to lose yourself.

  De Angulo goes on to say that wandering can lead to death, to hopelessness, to madness, to various froms of despair, or that it may lead to encounters with other powers in the remoter places a wanderer may go. He concludes, “When you have become quite wild, then perhaps some of the wild things will come to take a look at you, and one of them may perhaps take a fancy to you, not because you are suffering and cold, but simply because he happens to like your looks. When this happens, the wandering is over, and the Indian becomes a shaman.” You get lost out of a desire to be lost. But in the place called lost strange things are found, De Angulo’s editor notes, “All white men are wanderers, the old people say.”

  During this long spell when stories rained down, I gave a reading at a bar on a street that faced water before the shoreline was filled in to squeeze a few more blocks of city out of the north face of the San Francisco peninsula. I read a short piece that ended in a downpour and another one about the sea and then went to collect my drink. Carol, the wife of the man who’d invited me to read, waved me over to the bar stool next to her and wound up telling me about the tattoo artist who’d been their neighbor for many years. The tattoo artist was a junkie for decades, and then a scab on his hand from shooting up got infected. He ended up in the hospital with a near-fatal systemic infection, and they had to amputate his arm, his right arm, his working arm. But, to his amazement, at the end of that long period of going to the edge of death and coming back, the doctor told him he was cured of his addiction. He was thrown out of the hospital without his craft, but clean, starting from scratch, as abrupt and overwhelming an emergence into the world as birth. A dragon had been tattooed up that arm, and all but the head of the dragon was gone.

  My friend Suzie told me while I was driving her home from that bar about the real meaning of the blindfolded figure of Justice holding the scales. Suzie was drawing her own tarot cards and rethinking each card as she went. Justice, a book on classical lore asserted, stood at the gates of Hades deciding who would go in, and to go in was to be chosen for refinement through suffering, adventure, transformation, a punishing route to the reward that is the transformed self. It made going to hell seem different. And it suggested that justice is a far more complicated and incalculable thing than we often imagine, that if everything is to come out even in the end, then the end is farther away than anticipated and far harder to estimate. It suggests too that to reside in comfort can be to have fallen by the wayside. Go to hell, but keep moving once you get there, come out the other side. Finally she drew a group around a campfire as her picture of justice, saying that justice is helping each other on the journey. Another night, Suzie’s partner David told told me about a Hawaiian biologist he met who discovers new species by getting intentionally lost in the rainforest. The density of foliage and overcast skies there make the task easier than in the plateau country of the Wintu.

  David had been photographing endangered species in the Hawaiian rainforest and elsewhere for years, and his collections of photographs and Suzie’s tarot cards seemed somehow related. Because species disappear when their habitat does, he photographed them against the nowhere of a black backdrop (which sometimes meant propping up a black velvet cloth in the most unlikely places and discouraging climates), and so each creature, each plant, stood as though for a formal portrait alone against the darkness. The photographs looked like cards too, cards from the deck of the world in which each creature describes a history, a way of being in the world, a set of possibilities, a deck from which cards are being thrown away, one after another. Plants and animals are also a language, even in our reduced, domesticated English, where children grow like weeds or come out smelling like roses, the market is made up of bulls and bears, politics of hawks and doves. Like cards, flora and fauna could be read again and again, not only alone but in combination, in the endlessly shifting combinations of a nature that tells its own stories and colors ours, a nature we are losing without knowing even the extent of that loss.

  Lost really has two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing. There are objects and people that disappear from your sight or knowledge or possession; you lose a bracelet, a friend, the key. You still know where you are. Everything is familiar except that there is one item less, one missing element. Or you get lost, in which case the world has become larger than your knowledge of it. Either way, there is a loss of control. Imagine yourself streaming through time shedding gloves, umbrellas, wrenches, books, friends, homes, names. This is what the view looks like if you take a rear-facing seat on the train. Looking forward you constantly acquire moments of arrival, moments of realization, moments of discovery. The wind blows your hair back and you are greeted by what you have never seen before. The material falls away in onrushing experience. It peels off like skin from a molting snake. Of course to forget the past is to lose the sense of loss that is also memory of an absent richness and a set of clues to navigate the present by; the art is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss.

  Finally I set out to look for Meno. I had thought that his question would be part of a collection of aphorisms or fragments, like the fragments of Heraclitus. I had a clear picture of a book that doesn’t exist. If I’d ever known, I’d forgotten that Meno is the title of one of Plato’s dialogues. Socrates faces off with the sophist Meno, and as always in Plato’s rigged boxing contests, demolishes his opponent. Sometimes while walking I catch sight of what at a little distance looks like a jewel or flower and turns out a few steps later to be trash. Yet before it is fully revealed, it looks beautiful. So does Meno’s question, though it might only be so in the flowery translation I first encountered, out of context. Socrates answers that question, “I know, Meno, what you mean; but just see what a tiresome dispute you are introducing. You argue that man cannot enquire either about that which he knows, or about that which he does not know; for if he knows, he has no need to enquire; and if not, he cannot; for he does not know the very subject about which he is to enquire.”

  The important thing is not that Elijah might show up someday. The important thing is that the doors are left open to the dark every year. Jewish tradition holds that some questions are more significant than their answers, and such is the case with this one. The question as the water-photographer had presented it was like a bell whose reverberations hang on the air for a long time, becoming quieter and quieter but never seeming to do something as simple as stop. Socrates, or Plato, seems determined to stop it. The question arises that arises with many works of art: does the work mean what the artist intended it to mean, does Meno’s argument mean what he or Plato intended it to mean? Or is it larger than they intended? For it is not, after all, really a question about whether you can know the unknown, arrive in it, but how to go about looki
ng for it, how to travel.

  For most of the dialogue, Socrates rebuts and attacks Meno with logic and argument and even mathematics. But for this question he shifts into mysticism—that is, into unsubstantiatable and poetic assertion. After his first dismissive reply, he adds, “And they say—mark, now, and see whether their words are true—they say that the soul of man is immortal, and at one time has an end, which is termed dying, and at another time is born again, but is never destroyed. And the moral is, that a man ought to live always in perfect holiness. ‘For in the ninth year Persephone sends the souls of those from whom she has received the penalty of ancient crime back again from beneath into the light of the sun above, and these are they who become noble kings and mighty men and great in wisdom and are called saintly heroes in after ages.’ The soul, then, as being immortal, and having been born again many times, and having seen all things that exist, whether in this world or in the world below, has knowledge of them all . . . all enquiry and all learning is but recollection.” Socrates says you can know the unknown because you remember it. You already know what seems unknown; you have been here before, but only when you were someone else. This only shifts the location of the unknown from unknown other to unknown self. Meno says, Mystery. Socrates says, On the contrary, Mystery. That much is certain. It can be a kind of compass.