Out of a human population on earth of four and a half billion, perhaps twenty people can write a book in a year. Some people lift cars, too. Some people enter week-long sled-dog races, go over Niagara Falls in a barrel, fly planes through the Arc de Triomphe. Some people feel no pain in childbirth. Some people eat cars. There is no call to take human extremes as norms.
American writer (born 1945)
Annie Dillard (born 30 April 1945) is an American author born in Pittsburgh, Pennsylvania. She won the Pulitzer Prize for her non-fiction narrative Pilgrim at Tinker Creek in 1974. She has since published ten other books. Her most recent is the novel The Maytrees (June 2007).
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Birth Name:
Annie Doak
From Wikidata (CC0)
What have we been doing all these centuries but trying to call God back to the mountain, or, failing that, raise a peep out of anything that isn't us? What is the difference between a cathedral and a physics lab? Are not they both saying: Hello? We spy on whales and on interstellar radio objects; we starve ourselves and pray till we're blue.
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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.
Why are we reading, if not in hope of beauty laid bare, life heightened and its deepest mystery probed? Can the writer isolate and vivify all in experience that most deeply engages our intellects and our heats? Can the writer renew our hope for literary forms? Why are we reading if not in hope that the writer will magnify and dramatize our days, will illuminate and inspire us with wisdom, courage, and the possibility of meaningfulness, and will press upon our minds the deepest mysteries, so we may feel again their majesty and power?
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 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. Mother knew we would go; she encouraged us.
The written word is weak. Many people prefer life to it. Life gets your blood going, & it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses — the imagination’s vision, & the imagination’s hearing — & the moral sense, & the intellect. This writing that you do, that so thrills you, that so rocks & exhilarates you, as if you were dancing next to the band, is barely audible to anyone else.
It's about waking up. A child wakes up over and over again, and notices that she's living. She dreams along, loving the exuberant life
of the senses, in love with beauty and power, oblivious to herself — and then suddenly, bingo, she wakes up and feels herself alive. She notices her own awareness. And she notices that she is set down here, mysteriously, in a going world.