42 pages • 1 hour read
Annie DillardA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In March, the narrator stops at a gas station along the interstate to buy coffee and fuel. The worker at the station has a small beagle puppy that follows the narrator outside. As she looks at the mountains alongside the vacant highway and pets the puppy, she is consumed by a sense of the present. She realizes that she is in this moment and a part of it. However, as soon as she recognizes the feeling, it flits away. She compares the moment to the little girl who had cataract surgery and saw a tree for the first time. The narrator explains that consciousness allows the individual to connect with the present, but self-consciousness or self-awareness pulls the individual away from God, wonder, and time. She describes innocence as a lack of self-consciousness. This is why small children and infants may engage more fully with wonder; they have not yet gained an understanding of the self.
The narrator describes moments of feeling fully in the present moment. Once, while visiting a university, she witnessed one scientist cutting into a fish while another scientist ate his grapefruit with a spoon. Another moment found her driving along a road in Grundy, Virginia, and spotting a tree covered in clothes. The present feels like a snapshot because of its fleeting nature, but it encompasses a vast number of things.
While sitting at Tinker Creek, the narrator attempts to engage with the present. She watches the sycamore and considers how trees exist on all planes of existence—beneath the soil, at eye level with humans, and into the heavens. They transcend time in a way that few species do. Memory and distraction repeatedly interrupt her musings, and she again reflects that children find it easier to engage in wonder and to feel present in the moment. Once, after trying repeatedly to find a caddisfly case, a small child located one and showed it to her. Once the narrator’s eye had been trained to spot them, she could see them everywhere.
Suddenly, the narrator feels that she is in the present. She is mindful of all the creatures that exist and move in the moment: earthworms, moles, muskrats, etc. She considers the fungus beneath the ground and the cicadas waiting to emerge. Even those animals that are now dead—the tomcat that used to visit, the frog, the water bug—are a part of the symphony of the present.
As a child, the narrator struggled to understand foreign languages. She believed that words in other languages were intended to signify English words. As an adult, she realizes that she faces the same trouble when attempting to decipher the language of birds. The mockingbird above her chimney warbles all day; the narrator agrees with scientists who suggest that birdsong is about more than laying claim to territory. She suggests that asking what the birds are saying is less important than asking what makes their song so beautiful.
As spring begins, the narrator tries to slow down and observe. It is April, and she daily checks the praying mantis egg case she brought home in February. She realizes that ants have found the case and devoured its contents. The narrator visits the woods and finds a pool with newts swimming in it. She dips her fingers into the water and lets the newts nibble at her skin. The trees have exploded with flowers and tiny leaves. Birds’ mouths are full of worms and insects. As the narrator walks home, she sees small children playing with an orange kitten named Sweet Dreams.
In May, the narrator feels stifled by the plants and heat. She visits the duck pond, which is capped with algae. The sight of it reminds her of a neighbor’s horse that died. The neighbor located a nearby fur farm that used dead horses as meat for its foxes, but the neighbor decided to haul the animal to a landfill. The pond is also like a landfill—covered in frogs. The pond is teeming with life: snails, turtles, muskrats, and herons.
In June the narrator watches her goldfish in the light of the window. She can see the fish’s blood moving in its tail. At night, as she lies in bed, she imagines watching the blood flow through her own veins. In the goldfish bowl, algae cover a plant called elodea. She washes the elodea. Under a microscope, she can see chloroplasts in its leaves. Chloroplasts hold chlorophyll, which gives plants their green color. Chlorophyll consists of 36 atoms that center around an atom of magnesium; if that magnesium is replaced with iron, chlorophyll becomes hemoglobin, which makes blood red.
As she sits and considers the goldfish and chlorophyll, the narrator swims in consciousness. Her mind is filled with thoughts of the giant water bug, the Osage orange tree, and the snakeskin. She considers how God goes about creation and compares his work to a sculptor, a starling, and a railroad worker. Creation deals in intricacy; the head of a single caterpillar holds 288 separate muscles. The narrator is obsessed with details like this; she finds that other people are less interested in this type of information. For her, the intricacies of creation speak to the meticulous craftsmanship of God.
In addition to the detailed complexity of creation, the narrator is struck by the variety: “[N]ot only did the creator create everything, but […] he is apt to create anything. He’ll stop at nothing” (136). While colors are limited, forms are limitless. The narrator examines the larva of an ordinary dragonfly, an example of the variety of forms. Rather than knowing all the names of every creature and landscape, the narrator hopes to understand their meaning. She recalls a dream she had the year before. She dreamed she was dead in a dark space with many stars. She saw a long strip of color that extended endlessly. She approached and looked at it closely. The longer she looked, the more the dots of color that comprised the band became apparent. These dots represented time, and she was filled with memories of place and experience.
In Chapter 6, Dillard twice repeats the phrase, “Catch it if you can” (78). The “it” she refers to is the present. While the narrator sits outside the gas station, she is overwhelmed by the feeling of being in the present. She compares this moment to the small girl witnessing the sunlight coming through the leaves of the tree. The narrator suggests that perhaps the tree with lights in it—the sense of wonder that comes from seeing something with fresh eyes—is really a doorway into the present, a way to halt time, if only for a moment. In the moments that the narrator experiences either wonder or a sense of being in the present, she is compelled to worship God, drawing a direct line between the experiences of wilderness and God. Nature offers a window into the beauty of God’s nature, making God a knowable figure in the way described in the doctrine of via positiva.
The narrator’s consideration of creation itself further explores Faith and the Nature of the Divine. She marvels at the intricacies and varieties of forms available in nature. As she considers the various textures of the world, she is struck by nature’s profound beauty. These moments contribute to the theme Cruelty and Beauty in Nature, suggesting that God may be found in the artistry and elegance of creation but also hinting that there is something unsettling about this abundance. Her remark that God will “stop at nothing” is ominous and sets the stage for the darker side of variety that the narrator will explore in coming chapters (136).
In the meantime, noticing nature’s beauty requires The Power of Observation. As the narrator examines the blood passing through the tail of her goldfish or the chlorophyll running through an aquarium plant, she connects what she sees to larger meaning. Her dream of being dead and finding a long band of color solidifies the theme. By examining the dots on the band of color more closely, she gains a better understanding of what it means to live: “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” (145). Observation provides her with an opportunity to better understand her role in the present moment and the space in the world she occupies. The small details—the intricacies—read like the codes of a language. Instead of connecting words to other words, they connect to images of the divine.
The narrator achieves observation by slowing down. As spring begins, she challenges herself to move slowly, to avoid her usual habits of taking on too much or moving too quickly. Instead, she wants to look at everything, to take everything in as a child would. She argues that self-consciousness stands in the way of meaning, in part because it separates humans from the rest of nature and therefore from God (she notes the irony of so many religions viewing self-consciousness as a special gift to humanity). Therefore, when she sits by the creek, she avoids thinking about herself. Instead, she considers everything around her and how each creature and plant contributes to the present moment.
By Annie Dillard
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