Great Throughts Treasury

This site is dedicated to the memory of Dr. Alan William Smolowe who gave birth to the creation of this database.

Anne Dillard

American Author, Poet, Essayist, Winner of Pulitzer

"A mind risks real ignorance for the sometimes paltry prize of an imagination enriched. The trick of reason is to get the imagination to seize the actual world - if only from time to time."

"A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life."

"A few of the principles by which I live: A good gag is worth any amount of time, money and effort; never draw to fill an inside straight; always keep score in games, never in love; never say 'Muskrat Ramble'; always keep them guessing; never listen to the same conversation twice; and (this is the hard part) listen to no one."

"A child is asleep. Her private life unwinds inside skin and skull; only as she sheds childhood, first one decade and then another, can she locate the actual, historical stream, see the setting of her dreaming private life?the nation, the city, the neighborhood, the house where the family lives?as an actual project under way, a project living people willed, and made well or failed, and are still making, herself among them. I breathed the air of history all unaware, and walked oblivious through its littered layers."

"A great physicist taught at the Massachusetts Institute of Technology. He published many important books and papers. Often he had an idea in the middle of the night. He rose from his bed, took a shower, washed his hair, and shaved. He dressed completely, in a clean shirt, in polished shoes, a jacket and tie. Then he sat at his desk and wrote down his idea. A friend of mine asked him why he put himself through all that rigmarole. 'Why,' he said, surprised at the question, 'in honor of physics!"

"A man who struggles long to pray and study Torah will be able to discover the sparks of divine light in all of creation, in each solitary bush and grain and woman and man. And when he cleaves strenuously to God for many years, he will be able to release the sparks to unwrap and lift these particular shreds of holiness, and return them to God. This is the human task: to direct and channel the spark's return. This task is tikkun, restoration. Yours is a holy work on earth right now, they say, whatever that work is if you tie your love and desire to God. You do not deny or flee the world, but redeem it, all of it - just as it is."

"A schedule defends from chaos and whim. It is a net for catching days. It is a scaffolding on which a worker can stand and labor with both hands at sections of time."

"After the one extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever-fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look I see fire; that which isn't flint is tinder, and the whole world sparks and flames."

"Aim for the chopping block. If you aim for the wood, you will have nothing. Aim past the wood, aim through the wood; aim for the chopping block."

"All day long I feel created. I can see the blown dust on the skin on the back of my hand, the tiny trapezoids of chipped clay, moistened and breathed alive."

"All my books started out as extravagant and ended up pure and plain."

"All the green in the planted world consists of these whole, rounded chloroplasts wending their ways in water. If you analyze a molecule of chlorophyll itself, what you get is one hundred thirty-six atoms of hydrogen, carbon, oxygen, and nitrogen arranged in an exact and complex relationship around a central ring. At the ring's center is a single atom of magnesium. Now: If you remove the atom of magnesium and in its exact place put an atom of iron, you get a molecule of hemoglobin. The iron atom combines with all the other atoms to make red blood, the streaming red dots in the goldfish's tail."

"A twenty-two-year-old girl was dazzled by the world?s brightness and kept her eyes shut for two weeks. When at the end of that time she opened her eyes again, she did not recognize any objects, but, ?the more she now directed her gaze upon everything about her, the more it could be seen how an expression of gratification and astonishment overspread her features; she repeatedly exclaimed: ?Oh God! How beautiful!'""

"A work in progress quickly becomes feral. It reverts to a wild state overnight. It is barely domesticated, a mustang on which you one day fastened a halter, but which now you cannot catch. It is a lion you cage in your study. As the work grows, it gets harder to control; it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, Simba!"

"Admire the world for never ending on you -- as you would an opponent, without taking your eyes away from him, or walking away."

"According to Inuit culture in Greenland, a person possesses six or seven souls. The souls take the form of tiny people scattered throughout the body."

"A writer looking for subjects inquires not after what he loves best, but after what he alone loves at all."

"Am I living?'...I forgot myself, and sank into dim and watery oblivion."

"An acre of poppies and a forest of spruce boggle no one?s mind. Even ten square miles of wheat gladdens the hearts of most . . . No, in the plant world, and especially among the flowering plants, fecundity is not an assault on human values. Plants are not our competitors; they are our prey and our nesting materials. We are no more distressed at their proliferation than an owl is at a population explosion among field mice . . . but in the animal world things are different, and human feelings are different . . . Fecundity is anathema only in the animal. Acres and acres of rats has a suitably chilling ring to it that is decidedly lacking if I say, instead, acres and acres of tulips."

"An Eskimo shaman said, Life?s greatest danger lies in the fact that man?s food consists entirely of souls."

"An infant is a pucker of the earth's thin skin; so are we. We arise like budding yeasts and break off: we forget our beginnings. A mammal swells and circles and lays him down. You and I have finished swelling: our circling periods are playing out, but we can still leave footprints on a trail whose end we do not know. Buddhism notes that it is always a mistake to think you can go it alone."

"An Inuit hunter asked the local missionary priest: 'If I did not know about God and sin, would I go to hell?' 'No,' said the priest, 'not if you did not know.' 'Then why,' asked the Inuit earnestly, 'did you tell me?'"

"And I suspect that for me the way is like the weasel's: open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will."

"Anything can happen, and anything does."

"Appealing workplaces are to be avoided. One wants a room with no view, so imagination can meet memory in the dark."

"As a child I read hoping to learn everything, so I could be like my father. I hoped to combine my father's grasp of information and reasoning with my mother's will and vitality. But the books were leading me away. They would propel me right out of Pittsburgh altogether, so I could fashion a life among books somewhere else. So the Midwest nourishes us . . . and presents us with the spectacle of a land and a people completed and certain. And so we run to our bedrooms and read in a fever, and love the big hardwood trees outside the windows, and the terrible Midwest summers, and the terrible Midwest winters, and the forested river valleys, with the blue Appalachian Mountains to the east of us and the broad great plains to the west. And so we leave it sorrowfully, having grown strong and restless by opposing with all our will and mind and muscle its simple, loving, single will for us: that we stay, that we stay and find a place among its familiar possibilities."

"As a life's work, I would remember everything - everything, against loss. I would go through life like a plankton net."

"As soon as beauty is sought not from religion and love, but for pleasure, it degrades the seeker."

"As symbol, or as the structuring of symbols, art can render intelligible -- or at least visible, at least discussible -- those wilderness regions which philosophy has abandoned and those hazardous terrains where science's tools do not fit. I mean the rim of knowledge where language falters; and I mean all those areas of human experience, feeling, and thought about which we care so much and know so little: the meaning of all we see before us, of our love for each other, and the forms of freedom in time, and power, and destiny, and all whereof we imagine: grace, perfection, beauty, and the passage of all materials to thoughts, and of all ideas to forms."

"At a certain point, you say to the woods, to the sea, to the mountains, the world, Now I am ready. Now I will stop and be wholly attentive. You empty yourself and wait, listening. After a time you hear it: there is nothing there. There is nothing but those things only, those created objects, discrete, growing or holding, or swaying, being rained on or raining, held, flooding or ebbing, standing, or spread. You feel the world's word as a tension, a hum, a single chorused note everywhere the same. This is it: this hum is the silence. Nature does utter a peep - just this one. The birds and insects, the meadows and swamps and rivers and stones and mountains and clouds: they all do it; they all don't do it. There is a vibrancy to the silence, a suppression, as if someone were gagging the world. But you wait, you give your life's length to listening, and nothing happens. The ice rolls up, the ice rolls back, and still that single note obtains. The tension, or lack of it, is intolerable. The silence is not actually suppression: instead, it is all there is."

"At its best, the sensation of writing is that of any unmerited grace. It is handed to you, but only if you look for it. You search, you break your heart, your back, your brain, and then--and only then--it is handed to you."

"And you? To what end were we billions of oddballs born?"

"And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water?I saw may apples in forest, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided and apples grew striped and spotted in the fall. Mountains kept their cool caves, and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wilds ducks flew, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remembered the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean?s shape and the form of continents, saying to myself with surprise as I looked at the planet, Yes, that?s how it was then, that part there we called ?France?. I was filled with the deep affection of nostalgia- and then I opened my eyes."

"Anything you do not give freely and abundantly becomes lost to you."

"At the time of Lewis and Clark, setting the prairies on fire was a well-known signal that meant, ?Come down to the water.? It was an extravagant gesture, but we can?t do less. If the landscape reveals one certainty, it is that the extravagant gesture is the very stuff of creation. After the extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look, I see fire: that which isn?t flint is tinder, and the whole world sparks and flames."

"Beauty and grace [in nature] are performed whether or not we will or sense them. The least we can do is try to be there."

"Beauty is not a hoax . . . Come on, I say to the creek, surprise me; and it does, with each new drop. Beauty is real. I would never deny it; the appalling thing is that I forget it (271)."

"Books swept me away, this way and that, one after the other; I made endless vows according to their lights for I believed them."

"But shadows spread, and deepened, and stayed. After thousands of years we're still strangers to darkness, fearful aliens in an enemy camp with our arms crossed over our chests."

"But there is another kind of seeing that involves a letting go. When I see this way I sway transfixed and emptied. The difference between the two ways of seeing is the difference between walking with and without a camera. When I walk with a camera I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment?s light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer."

"At night on land migrating monarchs slumber on certain trees, hung in festoons with wings folded together, thick on the trees and shaggy as bearskin."

"Because how we spend our days is, of course, how we spend our lives."

"Buddhism notes that it is always a mistake to think your soul can go it alone."

"But I can?t go out and try to see this way. I?ll fail, I?ll go mad. All I can do is try to gag the commentator, to hush the noise of useless interior babble that keeps me from seeing just as surely as a newspaper dangled before my eyes. The effort is really a discipline requiring a lifetime of dedicated struggle; it marks the literature of saints and monks of every order East and West, under every rule and no rule, discalced and shod. The world?s spiritual geniuses seem to discover universally that the mind?s muddy river, this ceaseless flow of trivia and trash, cannot be dammed, and that trying to dam it is a waste of effort that might lead to madness. Instead you must allow the muddy river to flow unheeded in the dim channels of consciousness; you raise your sights; you look along it, mildly, acknowledging its presence without interest and gazing beyond it into the realm of the real where subjects and objects act and rest purely, without utterance."

"Chloroplasts bear chlorophyll; they give the green world its color, and they carry out the business of photosynthesis. Around the inside perimeter of each gigantic cell trailed a continuous loop of these bright green dots. They spun . . . they pulsed, pressed, and thronged . . . they shone, they swarmed in ever-shifting files around and around the edge of the cell; they wandered, they charged, they milled, raced . . . they flowed and trooped greenly . . . All the green in the planted world consists of these whole, rounded chloroplasts . . . If you analyze a molecule of chlorophyll itself, what you get is one hundred thirty-six atoms of hydrogen, carbon, oxygen, and nitrogen arranged in an exact and complex relationship around a central ring. At the ring?s center is a single atom of magnesium. Now: If you remove the atom of magnesium and in its place put an atom of iron, you get a molecule of hemoglobin. The iron atom combines with all the other atoms to make red blood, the streaming red dots in the goldfish?s tail."

"Caring passionately about something isn't against nature, and it isn't against human nature. It's what we're here to do."

"Children ten years old wake up and find themselves here, discover themselves to have been here all along; is this sad? They wake like sleepwalkers, in full stride; they wake like people brought back from cardiac arrest or from drowning: in medias res, surrounded by familiar people and objects, equipped with a hundred skills. They know the neighborhood, they can read and write English, they are old hands at the commonplace mysteries, and yet they feel themselves to have just stepped off the boat, just converged with their bodies, just flown down from a trance, to lodge in an eerily familiar life already well under way. I woke in bits, like all children, piecemeal over the years. I discovered myself and the world, and forgot them, and discovered them again. I woke at intervals until, by that September when Father went down the river, the intervals of waking tipped the scales, and I was more often awake than not. I noticed this process of waking, and predicted with terrifying logic that one of these years not far away I would be awake continuously and never slip back, and never be free of myself again."

"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?"

"Concerning trees and leaves... there's a real power here. It is amazing that trees can turn gravel and bitter salts into these soft-lipped lobes, as if I were to bite down on a granite slab and start to swell, bud and flower. Every year a given tree creates absolutely from scratch ninety-nine percent of its living parts. Water lifting up tree trunks can climb one hundred and fifty feet an hour; in full summer a tree can, and does, heave a ton of water every day. A big elm in a single season might make as many as six million leaves, wholly intricate, without budging an inch; I couldn't make one. A tree stands there, accumulating deadwood, mute and rigid as an obelisk, but secretly it seethes, it splits, sucks and stretches; it heaves up tons and hurls them out in a green, fringed fling. No person taps this free power; the dynamo in the tulip tree pumps out even more tulip tree, and it runs on rain and air."

"Could tiny birds be sifting through me right now, birds winging through the gaps between my cells, touching nothing, but quickening in my tissues, fleet?"