aug 30/ YARDWORK

A perfect morning for running. Too bad I just ran 9 miles yesterday. Oh well. The only physical activity I’ve done today is picking up and bagging fallen branches in our front yard.

In terms of being outside, I’ve sat on the back deck for hours. Earlier, I watched a fox pause on my neighbor’s driveway to scratch an itch for almost 5 minutes. Then it slinked (slunk? slank) away. When I told Scott about it, his guess was fleas. This is not the first or second time I’ve seen this fox — slight, sleek, wild.

Even though I’m not running, I’ve decided to post some water things for future Sara:

tributaries / from Diane Setterfield

When I encountered this wonderful description near the beginning of Setterfield’s Once Upon a River many years ago, I knew I wanted to archive it. Finally, here it is:

A river on a map is a simple thing. Our river starts at Trewsbury Mead, and follows a course of some two hundred and thirty-six miles to reach the sea at Shoeburyness. But anyone who takes the trouble to follow its route, whether by boat or on foot, cannot help being aware that, furlong by furlong, singleness of direction is not its most obvious feature. En route the river does not seem particularly intent on reaching its destination. Instead it winds its way in time-wasting loops and diversions. Its changes of direction are frequently teasing: on its journey it heads at different times north, south, and west, as though it has forgotten its easterly destination--or put it aside for the while. At Ashton Keynes it splits into so many rivulets that every house in the village must have a bridge to its own front door; later, around Oxford, it takes a great unhurried detour around the city. It has other capricious tricks up its sleeve; in places it slows to drift lazily in wide pools before recovering its urgency and speeding on again.
If this is hard to understand from a map, the rest is harder. For one thing, the river that flows ever onwards is also seeping sideways, irrigating the fields and land to one side and the other. It finds its way into wells and is drawn up to launder petticoats and be boiled for tea. It is sucked into root membranes, travels up cell by cell to the surface, is held in the leaves of watercress that find themselves in the soup bowls and on the cheeseboards of the country's diners. From teapot or soup dish, it passes into mouths, irrigates complex internal biological networks that are worlds in themselves, before returning eventually to the earth via a chamber pot. Elsewhere the river water clings to the leaves of the willows that droop to touch its surface and then, when the sun comes up, a droplet appears to vanish into the air, where it travels invisibly and might join a cloud, a vast floating lake, until it falls again as rain. This is the unmappable journey of the Thames. And there is more: what we see on a map is only the half of it. A river no more begins at its source than a story begins with the first page. Take Trewsbury Mead, for instance. That photograph, do you remember? The one they were so quick to dismiss, because it wasn't picturesque? An ordinary ash in an ordinary field, they said, and so it appears, but look more closely. See this indentation in the ground, at the foot of the tree? See how it is the begining of a furrow, shallow, narrow, and unremarkable, that runs away from the tree and out of the picture altogether? See here, in the dip, where something catches the light and shows as a few ragged patches of silver in the grey shades of muddy soil? Those bright marks are water, seeing sunlight for the first time in what might be a very long time. It comes from underground, where, in all the spaces beneath our feet, in the fractures and voids in the rock, in caverns and fissures and channels, there are waterways as numerous, as meandering, as circuitous, as anything aboveground. The beginning of the Thames is not the beginning--or, rather, it is only to us that it seems like a beginnng. In fact Trewsbury Mead might not be the beginning in any case. There are those who say it's the wrong place. The not-even-the-beginning is not here but elsewhere, at a place called Seven Springs, which is the source of the Churn, a river that joins the Thames at Cricklade. And who is to say? The Thames that goes north, south, east, and west to
finally go east, that seeps to one side and the other as it moves forwards, that goes slow as it goes fast, that evaporates into the sky while meandering to the sea, is more about motion than about beginnings. If it has a beginning, it is located in a dark, inaccessible place. Better study where it goes than where it came from. Ah, tributaries! That's what I was meaning to come to. The Churn, the Key, the Ray, the Coln, the Leach, and the Cole in these upper reaches of the Tha,es, these are the streams and rivulets that come from elsewhere to add their own volume and momentum to that of the Thames. And tributaries are about to join this story. We might, in the quiet hour before dawn, leave this river and this long night and trace the tributaries back, to see not their beginnings--mysterious unknowable things--but, more simply, what they were doing yesterday.

from Housekeeping / Marilynne Robinson

I never finished reading Housekeeping (I should), but the descriptions of lake water in the opening pages has stuck with me for decades:

Sometimes in the spring the old lake will return. One will open a cellar door to wading boots floating tallowy soles up and planks and buckets bumping at the threshold, the stairway gone from sight after the second step. The earth will brin, the soil will become mud and then silty water, and the grass will stand in chill water to its tips. Our house was at the edge of town on a little hill, so we rarely had more than a black pool in our cellar, with a few skeletal insects skidding around on it. A narrow pond would form in the orchard, water clear as air covering grass and black leaves and fallen branches, all around it black leaves and drenched grass and fallen brances, and on it, slight as an image in an eye, sky, clouds, trees, our hovering faces and our cold hands.

Housekeeping / Marilynne Robinson

It is true that one is always aware of the lake in Fingerbone, or the deeps of the lake, the lightless, airless waters below. When the ground is plowed in the spring, cut and laid open, what exhales from the furrows but that same, sharp, watery smell. The wind is watery, and all the pumps and creeks and ditches smell of water unalloyed by any other element. At the foundation is the old lake, which is smothered and nameless and altogether black. Then there is Fingerbone, the lake of charts and photographs, which is permeated by sunlight and sustains green life and innumerable fish, and in which one can look down in the shadow of a dock and see stony, earthy bottom, more or less as one sees dry ground. And above that, the lake that rises in the spring and turns the grass dark and coarse as reeds. And above that the water suspended in sunlight, sharp as the breath of an animal, which brims inside this circle of mountains.

Housekeeping / Marilynne Robinson

Alice Blanchard and the bottom of the lake

In this essay about mysteries involving murderous lakes, Blanchard describes her childhood experience of living beside a lake and the September the dam broke and the lake emptied:

The next day, my sisters and I hurried down the hill to see what was left of the lake.  We couldn’t believe it—the whole thing was gone.  Our little dock extended out into nothing.  The drop was deep into water-speckled mud.  The dock’s legs were covered in slime, and small fish splashed around the remaining puddles.

It was sunny out—a beautiful September day.  We climbed down the wooden ladder onto the lake bottom, where the mudflats bore our weight like sandbars at the beach.  Everywhere you looked, trash mucked the lake bottom—tar-colored fishing poles, plastic buckets, half-buried flip-flops, boards with rusty nails sticking out.  Dead fish floated belly-up, while a few still-living fish twitched their fins and snapped their gills, trying to wriggle away into the deeper pools.  Everything smelled rotten in the strong sun.

My sisters and I explored for hours.  We found a wine bottle filled with mud, a weed-covered diving fin, a capsized rowboat, a crooked golf club, and more than a few rotten oars.  I looked around for Rita’s body.  My feverish imagination had convinced me that she would be there, half-buried in the mud, her long silky hair turned to seaweed, her waitress uniform the color of algae, her skeletal waist tied to a cement block by a length of water-logged rope.  Needless to say, we didn’t find any dead bodies that day.

At the Cold, Still Bottom of the Lake / Alice Blanchard

Her description makes me think of “drown town” in the series I just read about Indian Lake. Earlier in the essay, Blanchard writes about being frightened by her inability to know what was below her as she swam. This unknowingness doesn’t bother me too much — often I even welcome it — but I have, especially this summer, thought about might be below me in lake nokomis. In the shallowest parts, near the beaches, men with metal detectors have claimed anything of value, but how many people know what (or who) dwells at the bottom in the middle of the lake?