Nearly two years ago a friend sent me a review of Michael Chabon’s 2016 novel Moonglow. In the book, Chabon pieces together the remarkable life of his crotchety grandfather, a World War II veteran and a rocket aficionado. One reviewer, Hamilton Cain, in O, The Oprah Magazine, calls it “an exuberant meld of fiction and family history.”
I realized immediately that I needed to read this book. It’s an amazing story of family secrets only revealed when painkillers loosen the grandfather’s inhibitions—and his lips—during the last days of his life. There are phantasmagoric tales of mental illness, war crimes, civilian crimes, the space age, Jewish slums, and Florida retirement communities. And if you’re familiar with Chabon’s work, you know it’s brilliantly written. I highly recommend it.
As I’ve worked on my own novel about a somewhat mysterious grandfather, I’ve frequently returned to the words Chabon wrote in his Author’s Note:
“In preparing this memoir, I have stuck to facts except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it. Wherever liberties have been taken with names, dates, places, events, and conversations, or with the identities, motivations, and interrelationships of family members and historical personages, the reader is assured that they have been taken with due abandon.”
One of my chief struggles has stemmed from my desire to reveal all that I have learned about my ancestors and about the times they lived in. I know this is not what the reader of a work of fiction wants. And I have worked assiduously to rein in those tendencies. I recognize that some of my best characters may be the ones I invented whole cloth because I didn’t have the details of their lives available to me. And, of course, all conversations, all motivations, all emotional reactions were fabricated. With no family letters or other personal artifacts, how could I know any of that? I sometimes remind myself that the imagination can be the best conduit for the truth. There’s a reason Chabon’s note ends with the words “due abandon.”
However, I freely confess that the facts have largely dictated the broad strokes of the narrative. After all, I started out wanting to tell the story of my grandfather’s life. And there were some truly eye-popping discoveries that I hope have led to a compelling story line. But at times I allowed myself to get bogged down in details that a general audience will not care about.
With help from my early readers, I have trimmed a good bit of that out. I know I still have a little more that needs to go. It always helps to reread Chabon’s words and remember how critical it is to stick with facts “except when facts [refuse] to conform with memory, narrative purpose, or the truth as I prefer to understand it.” It is, after all, a work of fiction--“Scout’s honor,” as Chabon defiantly states in the disclaimer for his memoir.
Tim Cooper, of Oakdale, Minn., has poked and prodded me to finish Next Train Out for most of the last two years. He has been a stalwart reader, editor, and friendly foil. Recently, after reading the novel one final time, he wrote the following letter.
The great director and acting teacher Lee Strasberg implored his students to overact, to over-emote in their roles. When his students reached the point where they felt they had gone too far, where they felt embarrassed by their acting, Strasberg assured them they were exactly where they needed to be.
As you worked on your novel, I and others encouraged you to “go big,” to exaggerate the way your characters use language, the way they ruminate about their situations, and the way they engage the historical exigencies of their day. You pushed yourself to the point of discomfort, either your own or your projected audience’s.
And dare I say it, you’ve pulled it off. The characters come alive through these very techniques. We as readers know them, although we may each “know” them differently depending on our own experiences. I imbue Lyons with a nobility that others may find difficult to grasp. I fall in love with Effie Mae because of her feistiness, her strength, and her intelligence—traits that always appeal to me. Others may be appalled that she remains devoted to Lyons, forgives him, and ultimately uproots herself for him. However readers respond to these characters, your success will come, ultimately, from the fact that they will, indeed, react.
All novels are situated in a specific time, and that time serves as a separate character. You have done this beautifully. As you recall, we had some tussles over how much historical fact to include in your novel. I kept reminding you that you were writing a work of fiction; you kept reminding me that the historical backdrop was a major part of the story’s appeal. I’m not sure when or how it happened, but you found the happy-medium. We understand the characters better because we see how they navigate the reality of their times. You nailed it.
Secondary characters are just as vital to a novel’s success as primary characters. Your novel brilliantly draws these peripheral characters, and they only add to our understanding of Lyons and Effie Mae. Flossie in the speakeasy. Doug responding to the bombing of Pearl Harbor. Johnny wanting revenge.
And finally, the “Prologue” and the “Epilogue.” These two short pieces are among the finest writing you’ve done. The ways in which both inform the novel as a whole are striking. We tussled a bit here, too, didn’t we? But you eventually grew comfortable with a minimalist approach, and I believe it is wildly successful. You have created literary art.
You started with the simple proposition of writing a novel based on your grandfather's life. But the novel can now be read on any number of levels. Some may read it as a love story. Or a family biography. Or an accounting of the Appalachian diaspora. I prefer to read it as an anti-war novel. How do we account for a veteran’s actions after the war? How do we apply civil morality to individuals who were expected to kill or be killed, and yet survived?
Finally, allow me to say simply how much I enjoy reading your novel. What you have done is magnificent. Thank you for letting me have a small part in this process. It’s been so much fun. I hope my role as a reader was valuable, and I hope you know I remain your biggest cheerleader.
You already know that I love words. I love to play with their meanings and their sounds. I take pleasure in creating musical sentences that sing to readers. I want to get the rhythm and the beats just right.
I also enjoy laying out the words on a page. I want to create a page that draws a reader in with an appealing typeface and plenty of white space. I understand that, in the early moments when you’re trying to hook a reader, the look of the page may be as significant as the very words themselves.
In 1985, Aldus Corporation introduced PageMaker, the original desktop publishing software for Apple Macintosh computers. I started using the software shortly afterwards, and I’ve been fascinated with page layout and design ever since. I’ve read books, taken classes, and sharpened my layout skills at nearly all the jobs I’ve held, designing user’s manuals, restaurant training materials, marketing flyers, annual reports, and tourism books. Some years ago I moved on to Adobe’s InDesign, but I still enjoy the process of laying words on a page.
After I decided that Murky Press would publish Next Train Out, one of the first decisions I had to make was what font I wanted to use. For The Last Resort, I chose Garamond, a classic font commonly used in books. That would have worked fine for the novel, too. However, I did a little research to see what fonts were popular in the burgeoning self-publishing business. Most I was familiar with, but one I wasn’t, and it piqued my interest.
What drew me to Bembo was not necessarily its whimsical name, although that may have tugged at me just a bit. (I learned that Pietro Bembo was a 15th-century Italian poet and cleric.) What caught my eye was the font’s lightness, its simple clean lines and the beauty of some of its individual characters. It is an “old-style” font, based on Venetian designs from the Renaissance. When I learned that Monotype created its commercial version of Bembo in Britain in 1928-29—key years in the novel—I decided it was perfect for my purposes. When I saw that Penguin Books and Oxford University Press use the font, I figured I couldn’t go wrong.
Acquiring Bembo for use with my page layout program required a small contribution to Monotype Corporation, but I have already reconciled that expense. After creating some sample pages, I can’t imagine using anything else.
The Bourbon County Courthouse, which was destroyed by fire on October 19, 1901, just eight months after the arched gate at the bottom right was used to lynch George Carter. The citizens of Paris preserved the iron gate after the fire and it still stands adjacent to a historic building in downtown Paris.
As I’ve worked on my novel over the past three years, I’ve dedicated large chunks of time to researching or writing about the first half of the 20th century. I’ve tried to grasp the cultural and societal impact of two World Wars, the Great Depression, the rise of labor unions, and expanded access to telephones and automobiles. I’ve thought about how different parts of the country—from Miami to Toledo to the coal towns of Eastern Kentucky—responded to those changes.
That’s a tall order, and I’m certain I’ve barely scratched the surface of all I need to know. Nonetheless, I’ve frequently found myself immersed in another place and time—worlds that one would think are quite different from our 21st-century reality.
So I was somewhat surprised when I opened the Sunday Herald-Leader on November 24 and discovered two articles on the opinion page addressing a theme that runs through my novel. In one, Western Kentucky native LaTonia Jones writes about her youth in Paducah, where she played innocently in the cool grass on the very site where two black men, Brack Kinley and Luther Durrett, were lynched on October 13, 1916. In the other, University of Kentucky Ph.D. candidate Carson Benn recognizes the 100th anniversary of the efforts of the citizens of Corbin, Ky., on October 30, 1919, to expel all the black residents from their town.
Unfortunately, the term “lynching,” and all the ugly and unforgivable history it represents, has recently been a part of our national conversation. And it was only a few short months ago that we were talking about sending certain people in our country back where they came from.
It appears that in the 100+ years that have intervened since the events memorialized in these articles we have progressed very little. That we would resurrect these expressions and use them for personal advancement is unthinkable. That we still shy away from the conversations necessary to address simmering resentments is inexcusable. Can we ever find a way to embrace all our fellow citizens equally and justly?
My grandfather, whose life is fictionalized in Next Train Out, worked at a pharmacy in Corbin in 1914. In a scene in the novel, he returns to Corbin in 1934 and reflects on this shameful event in the town’s history, an event he views through the lens of a World War I veteran who trained alongside black recruits. At this point, he has also spent a lifetime coming to grips with the perverted justice he witnessed as an eight-year-old boy in Paris, Ky.—the same sort of justice that LaTonia Jones’ ancestors witnessed.
Evidently we still have much to learn from our history. Almost despite ourselves, we continue to find ways to inflict harm on each other, wittingly or unwittingly. And that is why it is so important that Ms. Jones and Mr. Benn and others continue to remind us of our past. Burying it will only let the cancer grow. Bringing it into the light, as is the goal of the Sunup Initiative in Corbin, is how we may best be able to change course.
After the longest summer in memory, we’re finally transitioning to winter. A little snow this week offered a taste of my favorite weather: bright blue skies, snow balancing on the tree limbs, and temperatures in the 20s keeping the ground hard and the mud at bay.
One sign of impending colder weather at my house is the dry-docking of our metal johnboat. In our case, this simply means hauling the boat out of the water and leaving it to rest upside-down on the nearby shore.
I came back from an event last Sunday afternoon and saw the boat was missing from its slip. That always makes me a little sad. Although we rarely take the boat for a spin on the lake these days—lightweight kayaks are just so much easier—its mere presence suggests the possibility of a lazy summer day fishing on the lake. It evokes nostalgia for a more tranquil time when bobbing on the water was an acceptable way to spend an afternoon.
But we have found that ice tends to build up inside the boat in the winter, and harsh winds can then heave the extra weight against the aging dock and pull hard at our makeshift mooring. Removing it from the water this time of year eliminates one thing we have to worry about. When it’s missing, however, I feel the void, the absence of something significant.
I’m in the middle of another transition that could also symbolize a sort of loss, if I allowed it to. But I prefer to see it as an empowerment, a taking control of a situation that could at times feel hopeless, a situation that made me grapple with my own worth and the value of the work I’ve chosen to do.
This is familiar territory for every writer who wants to see work published. I’ve spent several months reaching out to literary agents and small publishing houses searching for someone who might be willing to take a chance on my novel. Like so many writers, I now have only an inbox full of rejections to show for my efforts. It’s a tedious, time-consuming process that I still find interesting, but I’ve decided it’s just not how I want to wile away my hours. I’m ready to accept defeat and retake control of my project.
It takes a certain self-assuredness—or even cockiness—that I don’t normally possess to assume that my book has value even though no legitimate enterprise agrees. What’s at stake, however, is small: personal embarrassment, acknowledgment that my talent and skills are limited, shunning by those with legitimate claim to the title “writer.” I can accept that. I have no other literary aspirations. I’m ready to take the chance.
So I’m getting excited about designing the book that I want to offer to willing readers. I’ll be able to title it what I want, include the front matter I want, and rely on my talented graphic designer, Barbara Grinnell, to create a cover we both love. Of course, the final editing and proofing will now fall on me, or on other professionals I enlist to help. But I think I have a course mapped out, and I’m excited to be going down this road.
It’s freeing sometimes to let go of dreams that are only weighing us down. Sometimes we have to turn a corner, move in another direction, accept a transition to an imperfect state of things.
I’ve written a story that I want to share with friends and family who are interested, and I have a path for accomplishing that. That’s what’s important. And that I can do.
Two years ago, I took an eight-week essay-writing class with the irrepressible Teri Carter. At some point, she alerted us to a call for essays from a North Carolina writer and editor who was putting together a compendium of brief pieces by emerging writers. The theme of the collection was “facing adversity and making do”—more specifically, overcoming challenges as Daniel Boone had done 250 years ago when he was trapped by an early snowstorm in Kentucky during a hunting trip.
At the time, I was accustomed to writing short essays, both for Teri's class and for this blog. I didn’t have an inspiring story to share, one where I had faced danger or personal calamity or had demonstrated unusual courage or forbearance. But I was working through how to construct a novel-length narrative based on my maternal grandfather’s life, and one evening I dashed off a tongue-in-cheek reflection on what I had in common with him.
On a whim, I submitted the essay to the project editor and coordinator, Randell Jones. And then I promptly forgot about it. I devoted the next months to figuring out how to write fiction. Sometime that spring, Jones alerted me that he planned to include my piece in the book Bearing Up.
When I finally received a copy, I read through the other submissions and felt a little sheepish. The best pieces were short stories—something my contribution definitely was not. I ended up being mildly embarrassed by the whole thing. And I once again forgot about it.
Until a few days ago, when I received notice that Jones has now included my essay in the series of podcasts he is releasing. I admit I was surprised. When I rustled up the nerve to listen to his rendition, I liked it. He captured precisely the tone I had hoped to convey.
So I offer you Mr. Randell Jones’ 7-minute reading of “Adieu Encore,” my public admission that my “rapscallion grandfather,” as Jones calls him, and I have much in common.
Submit an essay for the 2020 Personal Story Publishing Project!
Write a personal story (780 words or so, 800 max) about "that Southern thing—living, loving, laughing, loathing, leaving the South. No fiction. You may share a story of someone close to you or an ancestor whose story you know well."
Deadling for submission: December 15, 2019
Click for more information.
Although Lawrenceburg was my parents’ hometown, I don’t have many memories of the place before my family moved there when I was seven. I know we came for visits, despite the arduous two-day drive. Typically, however, we would stay at the rambling farmhouse of my Goodlett cousins in southern Franklin County. As we neared our destination, I would wake up in the back seat of the old Plymouth Valiant, peer out the window at the white board fence loping along the road, and know that we were almost there.
I do remember one fateful trip, however, when we were planning to stay with my McWilliams cousins in Lawrenceburg. That trip was special: we were taking the train. I remember being picked up from school—another oddity, since my sister and I always walked to and from school—before we headed to the train station. Sometime en route, as the train rumbled west, I developed the mumps. I don’t remember too much more about the visit, but I’m sure it was not the family gathering anyone had anticipated.
So Lawrenceburg was still largely a mystery to me when we moved there. One of my early memories was shopping with Joy Mountjoy and Jean Goodlett at The Louisville Store. I remember wandering the aisles of Ben Franklin, awestruck at all the trinkets. I recall hearing about the filming of “The Flim-Flam Man” in town the summer before, disappointed that I had missed all the excitement.
I tagged along with my mother everywhere she went. The Lawrenceburg Bank. Ballard’s Drug Store. Model Market. Her aunt and uncle’s apartment on Jackson Street. That first summer, that’s how I got to know the town.
Recently, members of the Anderson County Historical Society were treated to a montage of film captured by Roy York in the early 1960s: parades through downtown Lawrenceburg, documentation of all the churches and public buildings, the dedication of Beaver Lake. Those of us of a certain age enjoyed catching glimpses of the people and places we remember from that era. It was a long time ago.
Lawrenceburg is a different place now. The 127-Bypass has become a commercial mecca. New neighborhoods have sprouted in every direction. The population has more than quadrupled.
But you still have to stop for the train on North Main Street. The old cemetery is still a beautiful place for a reflective walk. Downtown is once again bustling with places to eat and shop. The churches along Main Street haven’t moved. The courthouse featured in the old movie still stands sentinel.
I’m heading back to Lawrenceburg tomorrow for the Anderson Public Library Book Fest. I hope to chat with some current residents. Perhaps I’ll see some old friends. As I did the research for The Last Resort, I probably learned more about the area’s people and history than I had in the 10 years I lived there. There’s still much to discover, of course. But I know Pud Goodlett and Bobby Cole are happy that the little logbook of their adventures along Salt River has led me to a better understanding of their hometown.
David Hoefer, of Louisville, is the co-editor of The Last Resort. If you would like to submit a blog post for Clearing the Fog, contact us here.
The Last Resort is about young men in the final stages of youth, an all-too-brief period of camaraderie in the leafy, rural backdrop of Anderson County, Kentucky. But that’s not all John Goodlett’s book is about. Pud’s letters home while training to be an infantryman and later witnessing the closing days of World War II present another important part of his story.
In the spring of 1945, he faced the desperate violence of Germany’s failing opposition, as well as the skeletonized horror of a newly liberated concentration camp. Evidence suggests that Pud was a good soldier if not exactly a natural one. In a letter from France dated 6 Feb 1945, he explains to his mother and sister that his life outdoors has prepared him well for living in muddy trenches and handling a rifle. Without doubt he was a successful soldier: he made it home alive, returning to civilian life.
I’ve been reading another, more extensive war memoir of an altogether different character. The book’s English title is Storm of Steel, and its author is Ernst Jünger, a German veteran of trench combat in World War I. By all accounts, Jünger was a natural soldier—born to it and unashamed of the role he played in battle. At the same time, he was a gifted writer, who left us what many consider one of the best accounts of Western Front warfare, that four-year spectacle of death and obliteration.
Storm of Steel is quite unlike the pacifist tracts and novels that were popular in the years following the war’s end. Rather, it is a sharply observant record of the day-to-day tedium, punctuated by chaotic, deafening menace, that defined the conflict, captured by Jünger without sentimentality or celebration.
I bring this up because of a passage early in the book that caught my attention. New to his deployment, Jünger is experiencing shelling from a French position for the first time. His unit is posted by a woods that has yet to be destroyed by the fighting. Of this he writes:
“Towards noon, the artillery fire increased to a kind of savage pounding dance. The flames lit around us incessantly. Black, white, and yellow clouds mingled…And all the time the curious, canary-like twittering of dozens of fuses. With their cut-out shapes, in which the trapped air produced a flute-like trill, they drifted over the long surf of explosions like ticking copper toy clocks or mechanical insects. The odd thing was that the little birds in the forest seemed quite untroubled by the myriad noises; they sat peaceably over the smoke in their battered boughs. In the short intervals of firing, we could hear them singing happily or ardently to one another, if anything even inspired or encouraged by the dreadful noise on all sides” (2004:27-8, trans. by Michael Hofmann).
Nature abides; the birds carry on despite the groundswell of violence, without the ability to penetrate any realm beyond immediate circumstance. Observations like these reimagine war as a kind of stupid, background static.
This passage made me think about Pud, who faced down his own difficulties in war. It recasts the contrast between a delight-filled ramble in the woods and a dangerous, cold night in a foxhole as a single, somewhat enigmatic incident. This compression of tranquility and anxiety, of blessedness and its withdrawal, summarizes the power that we also detect in John Goodlett’s journals and letters.
A little further into Storm of Steel there’s a second passage that illustrates nature’s eternal return:
“Rank weeds climb up and through barbed wire, symptomatic of a new and different type of flora taking on the fallow fields [between the front lines]. Wild flowers, of a sort that generally make only an occasional appearance in grain fields, dominate the scene; here and there even bushes and shrubs have taken hold. The paths too are overgrown, but easily identified by the presence on them of round-leaved plantains. Bird life thrives in such wilderness, partridges for instance, whose curious cries we often hear at night, or larks, whose choir starts up at first light over trenches” (ibid.:41).
Ecological succession unfolds even in the most forbidding circumstances. Nature is that stubbornest of all habits.
Storm of Steel is worth your time (though not without some gruesome moments). Jünger knew the fear of war but never the fear of writing about it. By giving us a polished but truthful account, he goes beyond the moralism that actually detracts from depictions of the Devil’s great gift to humanity.
After my great-aunt Mary McWilliams suffered her final stroke, she was lying in a hospital bed, largely unresponsive. I approached her bedside with some trepidation. I was 17. I had something important to tell her.
“Mamaw,” I said, “I’ve decided to go to Centre College.”
She smiled. She did not respond verbally. She did not open her eyes. But she heard me, and she was pleased that I had finally decided to follow her to her alma mater.
At the time, I wasn’t particularly happy about that decision. I had wanted to go far, far away from Kentucky, far away from Lawrenceburg. I had never quite found my footing in my parents’ hometown after being dislocated from Baltimore shortly after my father died. I was still largely alien to my classmates. But I was set to graduate from Anderson County High School in a couple of months, and I had finally accepted my mother’s arguments for going to a school 30 miles away rather than one hundreds of miles away. Knowing that Mamaw approved made the choice a little more palatable. I was happy that I had shared some news in her final days that made her happy.
It sometimes seems ironic to me now that I am spending so much time digging into my ancestors’ stories and learning about Lawrenceburg’s history. I had hoped I had gotten away for good when I went on to graduate school in North Carolina. But I unexpectedly ended up back in Kentucky, and somehow I have never left.
So now I am looking forward to joining over 30 other authors at the Anderson Public Library’s First Annual Book Fest on Saturday, October 19. It feels a bit like a homecoming. As I’ve traveled to various communities in the last two years sharing the story of Pud and Bobby down on Salt River, I’ve begun to feel pride in my Anderson County roots. Under my cousin Sandy Goodlett’s patient tutelage, I’ve learned how widespread my ties to the county are.
It seems appropriate that this event will be at the beautiful, recently renovated Anderson Public Library. Adjacent to the library’s front door is a portrait of Ann McWilliams, Mary McWilliams’ daughter-in-law, who dedicated a decades-long career to improving the viability of that local institution and making it a proud testament to the community’s curiosity and love of reading. Mary McWilliams’ sister, Nell—my grandmother—worked at the old Carnegie library on Woodford Street, which is now the Anderson County Tourism Office and History Museum.
Growing up, I spent many hours in both buildings. My mother made sure of that. For me, the library was always a welcoming place that offered spellbinding riches: all the books you could read. For free. Now, of course, libraries offer so much more.
I hope you’ll make plans to stop by Saturday, October 19, between 10 a.m. and 2 p.m. and say hello. It’s an honor to be there to represent the story of an Anderson County native and chat with my Anderson County family.
Joe Ford of Louisville offered these thoughts after reading the post “Home on the Ridge,” which ponders whether an affinity for the outdoors can be inherited. If you would like to submit a blog post for Clearing the Fog, contact us here.
When we were young, weather permitting, my parents would stuff all eight of us children into the car and head south out of Louisville to Bernheim Forest.
Once there, the doors flung open and we loudly poured out. Save for a couple of ponds where you could feed the (kind of scary, tall as us) Canada Geese with a fistful of corn from a converted gum ball machine, there wasn’t much there except the miles of expansive woods, rocky streams full of crawdads (“Oh sister, I have a surprise for you!”), and a few picnic areas good for frisbee and football. Perfect. And almost deserted. Toward evening, the deer would steal into the meadows and we fell silent and talked in whispers.
At times, though, we drove right past the entrance to Bernheim, continuing west then south down SR 245 to Bardstown, past the Cathedral, south across the bridge at Beech Fork and left at the tiny sign that simply read “Trappist.”
Once inside the stone walls that flanked the parking lot for the Abbey of Gethsemani, we knew to keep our voices hushed and our steps measured. No one told us. It was just the nature of the place.
My Dad would slip inside the gate house and let the brothers know we were there. We’d drive or walk across the fields to the edge of their woods and haul our picnic fixings up to a few tables scattered among the trees. We were popular picnic company, as we came bearing fried chicken and beer—neither a normal item on the monks' menu.
(I know I don’t need to say this to the readers of this blog, but just in case it somehow falls into the wrong hands… You cannot just show up and invite the monks out for a couple of cold brewskies and fried chicken. My father taught them philosophy and maintained ongoing friendships with many of them. You have to bring St. Thomas, too.)
Afterwards, we would walk the woods and then attend vespers or compline before heading back home, a quieting and sacramental end to the day. In later years I’d walk those woods again, a little more cognizant of “the nature of the place.” But what stayed with me was the sense that every wood, every meadow at evening, was imbued with meaning, with beauty, was sacramental. That is, whether considering the joy of Bernheim or the sense of the sacred at Gethsemani, in my young mind they mixed; woods were woods, and woods were sacred.
Why do we have such a sense of awe for nature, such reverence? Think of all the cultures that consider the woods or the mountains either sacred in themselves or as the dwelling place of gods. The Incas in South America. The Sherpas in Nepal. Where in our brain—or should I say soul—is that, and why? Of what evolutionary advantage is that? Or, purely from an aesthetics point of view, why do we think they are beautiful? Why are they pleasing to us?
I’d like to think it is the little bit of divinity in each of us that connects with nature's sublime beauty. We recognize and respond to the Creator's presence there amid the mountains and the trees and the gurgling streams. It’s why we say we feel at home.
"Home on the Ridge" ended with a quote from Henry David Thoreau. I will take that as permission to end this with a rather long quote from a resident of the abbey itself. I’ve loved this passage for years, but only noticed just now how much Merton recognizes the echoes of the divine in nature.
"The Lord plays and diverts Himself in the garden of His creation…,We do not have to go very far to catch echoes of that game, and of that dancing. When we are alone on a starlit night; when by chance we see the migrating birds in autumn descending on a grove of junipers to rest and eat; when we see children in a moment when they are really children; when we know love in our own hearts; or when, like the Japanese poet Bashō we hear an old frog land in a quiet pond with a solitary splash—at such times the awakening, the turning inside out of all values, the “newness,” the emptiness and the purity of vision that make themselves evident, provide a glimpse of the cosmic dance…
"No despair of ours can alter the reality of things; or stain the joy of the cosmic dance which is always there. Indeed, we are in the midst of it, and it is in the midst of us, for it beats in our very blood, whether we want it to or not.
"Yet the fact remains that we are invited to forget ourselves on purpose, cast our awful solemnity to the winds and join in the general dance."
—Thomas Merton, New Seeds of Contemplation