Something of our relationship to the earth is determined by the particular place we stand at a given time. If you stand still long enough to observe carefully the things around you, you will find beauty, and you will know wonder. If you see a leaf carried along on the flow of a river, you might ponder its journey. Where did it begin, and where will it end? What will be the story of its passage? You will discover a thousand ways in which the leaf is connected to the water, the banks, the near and farther distances, the sky and the sun. Your mind, your spirit will be nourished and grow. You will become one with what you see. Consider what is to be seen.
Kiowa author and academic (1934–2024)
N. Scott Momaday (February 27, 1934 – January 24, 2024) was a Kiowa novelist, short story writer, essayist and poet. His novel House Made of Dawn was awarded the Pulitzer Prize for Fiction in 1969, and is considered the first major work of the Native American Renaissance. His follow-up work The Way to Rainy Mountain blended folklore with memoir. Momaday received the National Medal of Arts in 2007 for his work's celebration and preservation of indigenous oral and art traditions. He held twenty honorary degrees from colleges and universities and was a fellow of the American Academy of Arts and Sciences.
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The mortar fire had stopped. ...The silence had awakened him—and the low, even mutter of the machine that was coming. ...His vision cleared and he saw the countless leaves dip and sail across the splinters of light. The machine... was coming. ...The sound of the machine brimmed at the ridge ...whole and deafening. His mouth fell open upon the cold, wet leaves, and he began to shake violently. ...Then, through the falling leaves, he saw the machine. It rose up behind the hill, black and massive, looming there in front of the sun, He saw it swell, deepen, and take shape on the skyline, as if it were some upheaval of earth. ...For a moment it seemed apart from the land ...Then it came crashing down to the grade, slow as a waterfall, thunderous, surpassing impact, nestling almost into the splash and boil of debris. He was shaking violently, and the machine bore down upon him, came close, and passed him by. A wind arose and ran along the slope, scattering the leaves.
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It was simply that they were grave, distant, intent upon something that she could not see. Their eyes were held upon some vision out of range, something away in the end of distance, some reality that she did not know, or even suspect. What was it that they saw? Probably they saw nothing after all, nothing at all. But then that was the trick, wasn’t it? To see nothing at all, nothing in the absolute. To see beyond the landscape, beyond every shape and shadow and color, that was to see nothing. That was to be free and finished, complete, spiritual. To see nothing slowly and by degrees, at last; to see first the pure, bright colors of near things, then all pollutions of color, all things blended and vague and dim in the distance, to see finally beyond the clouds and the pale wash of the sky — the none and nothing beyond that. To say “beyond the mountain,” and to mean it, to mean, simply, beyond everything for which the mountain stands, of which it signifies the being. Somewhere, if only she could see it, there was neither nothing nor anything. And there, just there, that was the last reality. Even so, in the same attitude of non-being, Abel had cut the wood. She had not seen into his eyes until it was too late, until they had returned upon everything.
He had a strange feeling there, as if some ancestral intelligence had been awakened in him for the first time. There is the wild growth and the soft glowing of the earth, in the muddy water at his feet, was something profoundly original. He could not put his finger on it, but it was there. It was itself genesis, he thought, not genesis in the public domain, not an Old Testament Tale, but his genesis. He wanted to see his father there in the shadows of the still creek, the child he once was, himself in the child and the man. But he could not. there was only something like a photograph, old and faded, a shadow within a shadow,