Beyond the wall of the unreal city … there is another world waiting for you. It is the old true world of the deserts, the mountains, the forests, the islands, the shores, the open plains. Go there. Be there. Walk gently and quietly deep within it. And then — May your trails be dim, lonesome, stony, narrow, winding and only slightly uphill. May the wind bring rain for the slickrock potholes fourteen miles on the other side of yonder blue ridge. May God's dog serenade your campfire, may the rattlesnake and the screech owl amuse your reverie, may the Great Sun dazzle your eyes by day and the Great Bear watch over you by night.

The ancient canyon art of Utah belongs in that same international museum without walls which makes African sculpture, Melanesian masks, and the junkyards of New Jersey equally interesting — those voices of silence which speak to us in the first world language. As for the technical competence of the artists, its measure is apparent in the fact that these pictographs and petroglyphs though exposed to the attack of wind, sand, rain, heat, cold and sunlight for centuries still survive vivid and clear. How much of the painting and sculpture being done in America today will last — in the merely physical sense — for even a half-century?

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The more I dim my eyes over print and frazzle my brain over abstract ideas, the more I appreciate the delight of being basically an animal wrapped in a sensitive skin: sex, the resistance of rock, the taste and touch of snow, the feel of the sun, good wine and a rare beefsteak and the company of friends around a fire with a guitar and lousy old cowboy songs. Despair: I'll never be a scholar, never be a decent good Christian. Just a hedonist, a pagan, a primitive romantic

The new dam, of course, will improve things. If ever filled it will back water to within sight of the Bridge, transforming what was formerly an adventure into a routine motorboat excursion. Those who see it then will not understand that half the beauty of Rainbow Bridge lay in its remoteness, its relative difficulty of access, and in the wilderness surrounding it, of which it was an integral part. When these aspects are removed the Bridge will be no more than an isolated geological oddity, an extension of that museumlike diorama to which industrial tourism tends to reduce the natural world.

Men come and go, cities rise and fall, whole civilizations appear and disappear — the earth remains, slightly modified. The earth remains, and the heartbreaking beauty where there are no hearts to break.

To aid and abet in the destruction of a single species or in the extermination of a single tribe is to commit a crime against God, a mortal sin against Mother Nature. Better by far to sacrifice in some degree the interests of mechanical civilization, curtail our gluttonous appetite for things, ever more things, learn to moderate our needs, and most important, and not difficult, learn to control, limit and gradually reduce our human numbers. We humans swarm over the planet like a plague of locusts, multiplying and devouring. There is no justice, sense or decency in this mindless global breeding spree, this obscene anthropoid fecundity, this industrialized mass production of babies and bodies, ever more bodies and babies. The man-centered view of the world in anti-Christian, anti-Buddhist, antinature, antilife, and — antihuman.

These various interests are well organized, command more wealth than most modern nations, and are represented in Congress with a strength far greater than is justified in any constitutional or democratic sense. (Modern politics is expensive — power follows money.)

In that moment of truce, of utter surrender, when the rabbit still alive offers no resistance but only waits, is it possible that the rabbit also loves the owl?

There are only two living American authors fully deserving of the Nobel Prize. One is Lewis Mumford. The other is Wallace Stegner, whose novels and essays provide us a comprehensive portrait of industrial society in all its glittering corruption and radiant evil.

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