By John R. Campbell
A suite of forty four prose meditations encouraged by means of the transitory and bird-rich setting of the Klamath marshes at the Oregon/California border. "In order to just accept the big accountability that comes of being on the earth, we needs to first conceive, even with the entire hindrances, the country of really being the world." it truly is as a result that John R. Campbell got here to the Klamath marshes, a wetland in southern Oregon shaped by means of 3 historic, shallow lakes, an enormous vacancy that's mockingly domestic to an grand variety of lifestyles, of untold millions of birds either migratory and resident, of all of the interconnected lifestyles types that make up considered one of North America's richest normal environments. Absence and light-weight is Campbell's account of his exploration of the marshes and a meditation at the international he came upon there, on his transforming into figuring out of the actual, emotional, ethical, and aesthetic which means of that international, on his personal development as a guy. via Campbell's eyes, we notice the stirring and miraculous fantastic thing about the marshes and their creatures, and the utter poignancy in their fragility sooner than the heedless pursuits of humankind. this is often nature writing at its such a lot profound and relocating, writing that during reading and defining the realm of nature is helping us to appreciate the very complex and contradictory realities of being human. Campbell's luminous descriptions and mystical insights will lengthy linger within the reader's reminiscence.
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Extra info for Absence And Light: Meditations From The Klamath Marshes (Environmental Arts and Humanities)
At six thousand, šve thousand, three thousand, and even six hundred years before the present, the Little Ice Ages advanced. Their subsequent retreat formed cirques that in turn šlled to form these mountain lakes. So Lake Natashia, having found you, I’ve found uncounted worlds that no one will ever see. My concept of landscape was always painterly, had always included my own experience, or at least someone’s experience, to provide a vantage point, a point of view. I assumed that perspective could be achieved only in this personal way.
So there is a ritual place where ¦ux is the norm and stasis is abhorrent, where two identities can blend into a third entity that comprises both and is identišed as neither. In nature, which allows for all culture, liminal places are often fecund: these marshes, both water and arid land, for example, or tidal zones, or the borders between the woods and the šelds. The “edge effect,” biologists call it. Indeed, our very origins as Homo sapiens lie in liminality, in the borders between the trees and the savanna, where our ancestors šrst ventured out with their tools and their new, facile language.
I had someone come out and šx it. ” Orion is tilting overhead as I jiggle the key in the lock. The room is brick, painted white, with a worn carpet in oranges and browns and a tan bedspread that remind me strangely of the marshes outside. Only older, I think—synthetic and old. The ¦uorescent light, after its sweet moment, ignites, ¦ickers behind the bathroom door. I’m standing in front of a small mirror placed at torso level, looking at my body from my neck to my knees, and I swear I’m a stranger, an unknown.
Absence And Light: Meditations From The Klamath Marshes (Environmental Arts and Humanities) by John R. Campbell
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