“When we have learned how to listen to trees,” Hermann Hesse wrote in one of his least known, most beautiful essays, “then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.”
To be ourselves is rooted in the recognition that, rather than a tree, a self is a forest; to be at home in the world is rooted in the recognition that a forest is a self. While indigenous cultures have known this since the dawn of knowledge, we are only just beginning to unlearn everything we have been taught by the erasure of our creaturely belonging that we call civilization in order to remember what we were born knowing: Life and its right are not something we can claim for ourselves unless we accord them to everything else that exists, bound to us by the mesh of mutuality that makes this drifting rock a living world.
In 2021, Ecuador led the way in this great unlearning by granting the Los Cedros Cloud Forest legal rights of personhood: the right to exist and flourish in the future.
The Los Cedros Cloud Forest
Five years later, four pioneers of the rippling rights-of-nature movement have joined forces with the forest itself to celebrate the landmark decision, as Copernican in the history of our civilization as the Cambridge Declaration of Consciousness: Robert Macfarlane (who has asked the urgent, self-answering question “Is a river alive?” and who remains the closest thing to a Rachel Carson of our time), Giuliana Furci (who has changed not only how we think about nature with her Fungi Foundation work but the very container of our thoughts, language, coining the word funga, now inducted into the Cambridge Dictionary, to stand alongside flora and fauna in our classification of the living world), César Rodríguez-Garavito (whose legal scholarship and activism have anchored the rights-of-nature movement), and Cosmo Sheldrake (who has devoted his life to turning the soundscapes of the living world into music). That they have named the Los Cedros Cloud Forest itself as co-author is both a radical gesture — a first in the history of literature — and a kind of homecoming to an elemental reality our sciences are only just beginning to confirm: that we think not with the brain but with the world, that place and personhood are indelibly entwined, that life is a song singing us back to ourselves so that when we die we may be sung across the threshold into the rhizomatic everythingness of everything.
It is a project breathtakingly beautiful in spirit and in matter, the song sung along the river that carries the ecosystem and unfolds like a paper harmonica to carry the words.
Trees speak in your leaves please
And streams tell me your dreams
Birds sing me your rhymes please
And stones teach me your times
Earth cover my limbs now
And mold thrive on my skin
Clouds deepen my sight please
And storms lend me your light
The back matter, following five short essays by the different contributors, is a painted encounter with the cloud forest’s wonderland of flora, fauna, and funga — 81 creatures each identified by their common and Linnaean names, occupying every niche and scale of existence, from the fierce ocelot (Leopardus pardalis) to the tender rosy flannel moth (Trosia neigropunetigera), from the air plant hovering ethereal midway between the canopy and the ground to the lichen clinging to the rocks more tenaciously than gravity itself.
Beholding this loving song of life, I am struck by what a rare achievement it is in this culture to teach without preaching, to protest not with militancy but with tenacious tenderness, to remember that care is a stronger and longer lever of change than complaint, that how we show up for the summons of conscience, as individuals and as a civilization, is the deepest measure of who and what we are.
“Place and a mind may interpenetrate till the nature of both is altered,” the Scottish mountaineer and poet Nan Shepherd wrote in her lyrical love letter to her native Highlands, echoing an ancient intuition about how our formative physical landscapes shape our landscapes of thought and feeling. The word “genius” in the modern sense, after all, originates in the Latin phrase genius loci — “the spirit of a place.”
I find myself thinking about Shepherd as I return to the Bulgarian mountains of my own childhood, trekking the same paths with my mother that I once trudged with tiny feet beside her, astonished at the flood of long-ago feelings rushing in with each step, astonished too at how effortlessly I navigate these routes I have not walked in decades.
The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two.
“View of Nature in Ascending Regions” by Levi Walter Yaggy from Geographical Portfolio — Comprising Physical, Political, Geological, and Astronomical Geography, 1893. (Available as a print, as a face mask, and as stationery cards.)
In a passage evocative of Rebecca Solnit’s memorable observation that “never to get lost is not to live,” O’Connor takes the telescopic perspective of evolutionary time to consider the cognitive handicap beneath this existential gift:
Life on earth has created millions of Ulyssean species undertaking epic journeys at scales both large and small. Getting lost is a uniquely human problem. Many animals are incredible navigators, capable of undertaking journeys that far eclipse our individual abilities. The greatest migration on earth belongs to the Arctic tern, a four-ounce argonaut that travels each year from Greenland to Antarctica and back again, a distance of some forty-four thousand miles. Flying with the wind, the tern’s return itinerary is a globe-trotter’s fantasy, circumnavigating Africa and South America.
[…]
One of the devices that an animal needs to navigate is a “clock” — an internal mechanism for measuring or keeping time. The daily mass migration of zooplankton in the world’s oceans requires them to know when dawn and dusk are approaching. It would seem this is a simple response to light stimuli, but deep-sea zooplankton, which live at depths below where light penetrates, also migrate in accordance with the length of day at different latitudes. Even slightly more complex migrations can demand multiple clocks.
Perhaps the most astonishing internal clock belongs to the bioluminescent Bermuda fireworm, which swarms the tropical waters precisely fifty-seven minutes after sunset on each third evening after the full Moon in the summer. Such a feat suggests that this tiny marine organism, with a fraction of a fraction of the cognitive capacity of a human, is internally equipped with three different timekeeping devises: a regular twenty-four-hour diurnal clock, a lunar clock with a 27.3-day cycle, and an interval timer to tick out the exact minutes past sunset.
O’Connor marvels at the staggering evolutionary array of timekeeping devices that allows migratory species to keep partaking of the dance of life:
Animals that complete annual migrations or multiyear migrations have to possess a yearly clock, one that is finely attuned to the lengths of days and nights and their changes across each season. In all, evolution seems to have produced annual clocks, lunar clocks, tidal clocks, circadian clocks, and, perhaps for those that migrate under cover of darkness, a sidereal clock — which measures the time it takes a star to appear to travel around the earth.
Besides their intricate internal timekeeping mechanisms, many nonhuman animals are endowed with equally intricate space-mapping mechanisms. Each migration season, humpback whales travel more than ten thousand miles far from land to return to the precise place where they were born. There are bird species — European pied flycatchers, blackcaps, and indigo buntings among them — that appear to orient by the pole star in their nocturnal flight; there are insect species — ants and bees among them — that perform triumphs of trigonometry with their light-sensitive photoreceptors, calculating spatial distances by polarized light to find the most direct route home after a winding pathway of foraging. With their mere milligram-brains of one million neurons — a grain of sand to the Mont Blanc of our eighty-six billion — and 20/2000 vision that renders them blind by human standards, honeybees make hundreds of foraging trips per day, meandering many miles from home, then compute the “beeline” back. African ball-rolling dung beetles, Namibian desert spiders, and southern cricket frogs use the stars of the Milky Way as their compass, just like some of the most courageous members of our own species once used the constellations to find their way to freedom from the moral cowardice of tyranny: To ensure they were moving northward, migrants on the Underground Railroad were instructed to keep the river on one side and “follow The Drinking Gourd” — an African name for Ursa Major, or The Big Dipper.
“Planetary System, Eclipse of the Sun, the Moon, the Zodiacal Light, Meteoric Shower” by Levi Walter Yaggy from Geographical Portfolio — Comprising Physical, Political, Geological, and Astronomical Geography, 1887. (Available as a print, as a face mask, and as stationery cards.)
Like all reality-radicalizing discoveries that defy the limiting creaturely intuitions we call common sense, the notion that animals might use magnetism for navigation was long derided as something more akin to spiritualism than to science. Humphry Davy — the greatest chemist of the Golden Age of chemistry, charismatic pioneer of the scientific lecture as popular entertainment — was keenly interested in the mystery of animal magnetism. A century after him, Nikola Tesla — a dazzling mind epochs ahead of his time in myriad ways, whose legacy shapes so much of our daily lives and whose name is now the measuring unit of magnetic fields — stood a chance of cracking the mystery, given with his twin passions for pigeons and magnetism, but the opprobrium of the scientific establishment was too impenetrable and the technology was not yet there. It wasn’t until 1958 that a young German graduate student — Wolfgang Wiltschko — was tasked with disproving animal magnetic navigation once and for all. Instead, he ended up proving it: In the then-dubious experiment he was asked to replicate, the birds he let loose in a space with no light source could, just like in the original experiment performed by a fellow student, still orient effortlessly.
O’Connor writes:
The notion that animals have a bio-compass that can “read” the earth’s geomagnetic field has now emerged as the most promising explanation of animal navigation. In addition to those marathon migratory species, nearly every animal that has been tested thus far demonstrates a capacity to orient to the geomagnetic field. Carp floating in tubs at fish markets in Prague spontaneously align themselves in a north-south axis. So do newts at rest, and dogs when they crouch to relieve themselves. Horses, cattle, and deer orient their bodies north-south while grazing, but not if they are under power lines, which disrupt the magnetic field. Red foxes almost always pounce on mice from the northeast. These organisms must all have some kind of organelle that functions as a magneto-receptor, the same way an ear receives sound and an eye receives space.
Magnetism with Key by Berenice Abbott, 1958, from her series Documenting Science.
We human animals navigate the world not only by orienting in space, but by orienting in time. Mental time travel — the ability to rememeber and reflect, to imagine and plan for the future — is what made us human. It is also the pillar of our personal identity — the narrative string that links our childhood selves to our present selves to make us, across a lifetime of physical and psychological changes, one person.
That string is known as autonoeic consciousness, from the Greek noéō: “I perceive,” “I fathom” — our capacity for mental self-representation as entities in time that can reflect on our own lives as continuous and coherent phenomena of being. In the blink of evolutionary time since the dawn of neuroscience in the 1930s, one area of the brain has emerged as the crucible of both our autoneoic consciousness and our spatial navigation: the hippocampus. O’Connor writes:
The hippocampus has sometimes been described as the human GPS, but this metaphor is reductive compared to what this remarkable, plastic part of our minds accomplishes. While a GPS identifies fixed positions or coordinates in space that never change, neuroscientists think what the hippocampus does is unique to us as individuals — it builds representations of places based on our point of view, experiences, memories, goals, and desires. It provides the infrastructure for our selfhood.
An astrocyte in the human hippocampus. One of neuroscience founding father Santiago Ramón y Cajal’s little-known ink drawings.
Because a self is a pattern of experiences, memories, and impressions, constellated according to an organizing principle, and because sleep is when the hippocampus consolidates memories to draw from them those organizing patterns, sleep is essential to our sense of self. O’Connor quotes MIT neuroscientist Matt Wilson:
During sleep you try to make sense of things you already learned… You go into a vast database of experience and try to figure out new connections and then build a model to explain new experiences. Wisdom is the rules, based on experience, that allows us to make good decisions in novel situations in the future.
The hippocampus is a hard-won glory of evolution, but it is not singular to us — rudiments of it and variations on it are found in some of our fellow animals across the rungs of neural complexity:
Even birds, which last shared an ancestor with humans 250 million years ago, as well as amphibians, lungfish, and reptiles, have what is called a medial pallium. Similar to the mammalian hippocampal formation in vertebrates, the medial pallium is also involved in spatial tasks in these species, raising the possibility that certain properties of spatial cognition were conserved as organisms diversified and split, while other properties adapted to particular ecologies or selective forces. But despite the profound evolutionary commonalities between humans and other vertebrates and the way the hippocampus relates to cognitive functions of memory and navigation, the question remains: why did we make such a leap in terms of hippocampi’s size and role in our lives? Or as psychologist Daniel Casasanto puts it, “How did foragers become physicists in the eye blink of evolutionary time?”
Part of the answer might lie in the remarkable plasticity of the hippocampus. After the now-iconic 2000 study of the brains of London taxi drivers — which found that their elaborate qualification exam, requiring the memorization of thousands of city landmarks and 25,000 streets, resulted in significant increase in synapses and gray matter in the hippocampus — scientists have been studying what we can do to protect and even bolster our primary instrument for navigating space and selfhood.
O’Connor points to the work of McGill University neuroscientist Véronique Bohbot, who has devised a hippocampal health regimen of recollection and navigation exercises of incrementally increasing difficulty that deliver marked structural growth of gray matter. VeboLife — the neurocognitive fitness training program she has devised — teaches people to navigate the familiar environment in deliberately novel ways, challenging trainees to reconfigure their default routes by taking new paths that require them to attend to new details and make new mental maps in the process.
Optimal hippocampal health appears to be — like the optimal experience of life itself — a matter of paying active and mindful attention, interrupting the “intentional, unapologetic discriminator” our brain has evolved to be, savoring the specifics of each unrepeatable moment.
With an eye to how our hippocampal acuity determines the quality of our lives, O’Connor wonders:
Maybe wayfinding is an activity that confronts us with the marvelous fact of being in the world, requiring us to look up and take notice, to cognitively and emotionally interact with our surroundings whether we are in the wilderness or a city, even calling us to renew our species’ love affair with freedom, exploration, and place.
And yet as much as we throb with wanderlust, we are animated by an intense connection to the landscapes and topographies of our formative years. An emotion known as topophilia, which I experienced while revisiting those mountain trails of my childhood, furnishes this affective-spatial memory that renders childhood as much a time as a place.
Major rivers and mountains of the world compared by length and height, from Atlas de Choix, ou Recueil des Meilleures Cartes de Geographie Ancienne et Moderne Dressees par Divers Auteurs by J. Goujon and J. Andriveau, 1829. (Available as a print, as a face mask, and as stationery cards.)
O’Connor writes:
Often the places we grow up in have outsized influence on us. They influence how we perceive and conceptualize the world, give us metaphors to live by, and shape the purpose that drives us — they are our source of subjectivity as well as a commonality by which we can relate to and identify with others. Maybe it’s because of the vividness of their sensory impressions, their genius for establishing deep relationships to their early environments, that children have a strong capacity for the human emotion called topophilia.
[…]
Across cultures, navigation is influenced by particular environmental conditions — snow, sand, water, wind — and topographies — mountain, valley, river, ocean, and desert. But in all of them, it is also a means by which individuals develop a sense of attachment and feeling for places. Navigating becomes a way of knowing, familiarity, and fondness. It is how you can fall in love with a mountain or a forest. Wayfinding is how we accumulate treasure maps of exquisite memories.
In the remainder of the thoroughly fascinating Wayfinding, O’Connor maps the most thrilling shorelines of our evolving territories of understanding: astounding findings indicating that people from migratory populations have measurably longer alleles of the dopamine receptor gene associated with exploratory behavior than people from sedentary communities; ancient feats of navigation passed down the generations in native cultures to challenge the Western social theory of culture; music as a metaphor for the relationship between organisms and their environment. For a lyrical counterpart, complement it with Rebecca Solnit’s Field Guide to Getting Lost.
Climbing the Andes one windy January afternoon, watching peak after peek emerge on the horizon like giant mounds of moss, I found myself wondering about the clear line toward the top where the green ends and the reddish-brown of the barren rock begins, wondering how the trees and shrubs know when to stop, how far to keep pushing, where the point is past which the conditions become too inhospitable for growth, for flourishing, for survival.
This may be the hardest equation to balance in all of existence: when to keep trying and when to stop. Nowhere is it more confounding, because nowhere is the calculus of reason more haunted by emotion, than in our intimate relationships. There, all the variables are too charged with feeling to be weighed accurately; there, the most vulnerable part of the ego keeps factoring itself into the arithmetic. Because time is something we can measure and tenderness is not, we keep trying to ward off the singular sense of personal failure that the loss of love can bring by measuring the success of a relationship by quantity of time rather than quality of being, only to find ourselves on barren rock.
Kurt Vonnegut (November 11, 1922–April 11, 2007) was twenty-two and just home from his wartime duty in Europe, where he had been held as a prisoner of war in Dresden and barely survived the Allied bombing of the city, when he married his college classmate Jane Marie Cox — two young people not yet having become themselves, unformed and unhealed, trying to be together.
They loved each other, but as they grew up, they grew apart, grew askance. And yet, dragged by the momentum of culture, they had a son, then a daughter, then another as Vonnegut struggled to make a living as a writer.
Vonnegut at 33 with his family.
When his sister died of cancer two days after her husband was killed in a train accident, he adopted their three young sons. In that way life has of denying us any alternative experimental condition but our lived experience, no one knows what might have become of the couple in an experimental design other than a small house pattered by six hungry children. They fought more and more, until even the most mundane conversation couldn’t but become an argument.
Vonnegut tried to take refuge in writing, but his twin peaks of bills and rejection slips came to tower over his dream. Middle-aged and penniless, he was about to give up when he received an unexpected offer to teach at the prestigious Iowa Writers’ Workshop, procured through the kindness of a single reader touched by the work of this obscure unhappy writer. It was a lifeline both professional and personal. Vonnegut packed his bags and headed to Iowa, knowing in his heart, though he was not yet ready to allow the thought, that this was the end of his life with Jane.
Two years into teaching, as his writing was finally beginning to receive recognition, he was awarded a Guggenheim Fellowship and used the prize money to travel back to Dresden, only to find much of the city still in ruins. I wonder if he thought about love then, how it too is a world that can be left in ruins beyond repair if the warfare is too brutal or too long.
Suddenly catapulted into public success — after five novels and countless short stories, Vonnegut was lauded as an overnight success with Slaughterhouse-Five — he remained lodged in the pit of personal failure. He and Jane had been together for a quarter century, happy for only a fraction of it. Torn between his emotional inability to hold on to the relationship and his cerebral unwillingness to give up, he began drowning his discontent in drink.
In the last year of his forties, he moved out and headed for New York, but couldn’t bring himself to end the marriage. Taking solace in Margaret Mead’s assurance that “a couple which has had children has an irreversible and undissolvable relationship,” he wrote to Jane:
We hurt each other back and forth so much, almost absent-mindedly, that it was common sense for us to separate, if only to break the rhythm.
He shaded in this stark contour in a letter to a friend, painting a haunting portrait of a dead relationship:
I myself am living alone in two rooms and a garden in New York, attempting to draw useful electricity from the millions of milling strangers around me. I am no longer living with Jane for this reason, as nearly as I can tell: We are no longer capable of conducting amiable conversations. When we try to talk, to amuse each other and pass the time, our words are wooden, stilted, queer, distant, and — finally — quietly bitter. That is too bad, and many people regard me as heartless for leaving her. But the hours and days and years dragged so. I am happier now, though far from hilarious and proud. I have achieved a sort of Limbo, which is a distinct improvement over what I had before. I am beginning to write again. That had stopped for a while. I do not wish to marry again. I’m not in love with anybody else.
Kurt Vonnegut at 50.
Writing remained his one oasis of sanity amid the limbo of his Middle Passage. Some part of him — that wise part that lives in each of us, whispering what we don’t want to but need to hear — knew that he had to reimagine his life if he were not to squander it. But he was not ready. So he reimagined his writing, taking the skeleton of a play he had written fifteen years earlier and enfleshing it anew. Happy Birthday, Wanda June ran for five months to mixed reviews, but the world was finally paying attention.
Having documented Martin Luther King, Jr.’s historic speech during the March on Washington and worked as a war photographer in Vietnam, Jill Krementz was unperturbed by the cantankerous writer whose process she was hired to capture for a magazine profile. She immediately felt both Vonnegut’s brilliance and his brokenness, felt the sharp edge on which his own heart was breaking, saw to the roiling core of his wounded tenderness. He immediately decided he didn’t like her. (“There is no terror like that of being known,” Emerson shuddered at the discomposing intimacy that bloomed between him and Margaret Fuller.)
Within months, they were living together.
Just before he moved in with Jill, Vonnegut wrote to his seventeen-year-old daughter Nanette:
Dear old Nanny —
You certainly deserve a letter from me. A hundred letters would be more like it, I love you so.
I will be home from time to time to see you. But I will not stay for long. I still love your mother, but we can’t be together much without fighting. We have tried to do things about this, but nothing helps, and each fight hurts more than the last one.
I wasn’t stolen away by another woman. I don’t think people can steal other people. I simply went away because the fighting was making everybody so unhappy. I’ve done that several times before. Going to Iowa was an example. Every time I went away I simply went to aloneness. There was never any other woman beckoning me to come.
This time, for instance, I couldn’t make myself come home after the play opened, and I was alone. I hardly knew Jill at all, and I didn’t like her much, and whatever happened between us happened long after I’d decided home was too uncomfortable for me.
Eighteen years his junior but in many ways his spiritual elder, Jill enveloped him in a kindness so entirely new he didn’t know what to do with it, a love he hadn’t thought possible. He tried to fight with her, out of reflex, but she simply loved him, and so he slowly unbraced the oppositional stance that had become his default, slowly stopped self-medicating. He grew healthy, grew happy, grew himself.
Still, it took him six years to meet the emotional truth of his failed marriage with the hard fact of divorce. When he finally decided to do it, he wrote to Nan:
As for the divorce: I will always love your mother, as must have been evident on Sunday. But we could never live together again. Our conversations go so badly. Also: I want to be fair to Jill, who saved me from knocking myself off or turning into an alcoholic. I will not marry Jill, but I will stop asking that she live with a married man. And Jane, who is fond of marriage, should have the chance to marry again. I am not pursuing happiness through divorce. I am permanently damaged by the break-up of marriage. Those wounds will never heal. I am simply trying to make the best of an unpleasant situation. Let me say again, too, that Jill did not break the marriage. It was broken long before that — about the time I went to Iowa. There was no other woman beckoning me to Iowa. Later on, there was no woman beckoning me to New York City. I arrived both places in total solitude, and feeling simply awful.
There will be no acrimonious argle-bargle about divorce this time. We will not make the mistake of hiring two strangers to fight each other on our behalf. Jane and I will arrive at some sort of division of property, and some scheme for my sending her money regularly. She already owns the Cape house and some stocks and a large savings account in cash. I will add to that treasure, so she won’t have much to worry about as long as I’m popular and productive. Then Don Farber will draw up a simple agreement, and that will be that. The legal steps will be brief formalities, without any arguments to be made before a judge.
It took him another two years to formalize his relationship with Jill. By the time they decided to marry, he was fifty-seven and one of the most beloved authors in America. His daughter was the first person he told:
Dearest Nanny —
I want you to be the first person in our family to find this out: That Jill and I have decided to marry each other in November, probably a couple of days after Thanksgiving. Jill will then be three months shy of being forty, and we will have lived together about nine years. The first years of the relationship were tempestuous. Much of the tempest was my fault, surely. I was in a frenzied state of mourning and dismay over the failure of my once good marriage to Jane. Jill had nothing to do with that failure, but she was handy to blame. Be that as it may, Jill and I behave most affectionately and reasonably toward each other now, and unselfishly. We are in love. Our heads are clear. We are working and playing most cheerfully.
I do not endorse serial marriage for anyone. I myself have always wished to be as monogamous as a swan. I was monogamous with your mother until the very end, and will be so with Jill.
After a rough sketch of the wedding (“It will be very private. We don’t want our pictures in the paper.”), he added:
I sympathize fully with the mixed loyalties you and all the rest of my children would feel on such an occasion. So I of course invite you all, and hope you all will come. If the ceremony and party are going to cause you pain, you should not subject yourself to that pain. Your coming or staying away will not be a vote for or against anything.
Mostly, dear Nanny, I want you to know how happy I am just now, and that I have every reason to look forward to some very good years ahead.
Kurt Vonnegut and Jill Krementz a decade into their love. (Photograph: Adam Scull.)
Kurt and Jill remained together until his death, thirty-six years after they met. It was there, in the safety and sweetness of their love, that he discovered the simple secret of happiness.
It could have been otherwise. That one defiant particle of matter could have never broken free from the equipoise of antimatter to sound the first note of something out of the mute nothingness, singing a universe into being. The universe could have withheld gravity, could have never compacted those first few atoms into a common center to bud the first star, could have never bloomed with billions of them. But here we are, circling a middling star in a modest solar system on a rocky planet replete with mountains and music, lichen and love, and on it the mirror the universe invented to contemplate itself: this shimmering consciousness.
It can be hard to bear, the weight of wonder, hard to hold all this bright improbability, hard to do laundry and email while reckoning with how the cosmos forged from the iron rib of dying stars creatures capable of the Benedictus and the atomic bomb.
Luckily, a species of mind has evolved to be the weight-bearer of wonder: the poet.
In the autumn of 2013, I was invited to the Library of Congress for a celebration of the newly acquired Carl Sagan and Ann Druyan papers. There alongside Sagan’s drafts of Pale Blue Dot, his hand-drawn diagrams of space and time, and his list of children’s book ideas (“Why do birds fly?” “Why do we cry?” “What is it like to be a tree?” “When I talk to myself, who’s listening?”) was a 1974 letter to his friend Timothy Leary, whom Sagan was about to visit in prison. After some thoughts on evolution, the possibility of extraterrestrial life, and the logistics of the upcoming visit, he added a postscript:
P.S. The enclosed poem, ‘The Other Night’ by Dianne Ackermann [sic] of Cornell, is something I think we both resonate to. It’s unfinished so it shouldn’t yet be quoted publically [sic].
I immediately wondered about this poem, this poet, and down the rabbit hole I went, to discover that Carl Sagan had been Diane Ackerman’s doctoral adviser at Cornell and that she had gone on to publish a collection of astronomy-inspired poems. It was out of print. I managed to procure a surviving copy and instantly fell under its spell — here was a kindred spirit just as wonder-smitten by reality, “knee-deep in the cosmic overwhelm,” passionate and playful, “stricken / by the ricochet wonder of it all: the plain / everythingness of everything, in cahoots / with the everythingness of everything else.” Here was someone who could see the “light engrossed in every object,” could fathom the “molecular / grit” of that light, could feel “the cold compress / of the universe” against this burning mortality impelling us to make meaning and make poems on a planet of such irrepressible aliveness, encircled by such inhospitable bodies as “Pluto, rock-ribbed as a die-hard comet,” “Neptune, whose breath is ammonia,” “Mercury, pockmarked / by the Sun’s yellow fever,” and the “agitated fossil” of Jupiter with its “whirlpools and burbling / aerosols little changed since the solar-system began.”
What emerges from these ravishing portraits of otherwise, the way a sculpture emerges from the marble cut away, is a love letter to this particular world, this improbable flotsam of the possible. “How shall I / celebrate the planet / that, even now, carries me / in its fruited womb?” Diane asks, “full of stagefright / and misgiving,” then goes on to sign the celestial body electric, arriving at the most fundamental question:
How can any system
observe itself?
And the poems answer: with systematic wonder.
Solar System quilt by Ellen Harding Baker, begun in 1869 and completed in 1876 to teach women astronomy when they were barred from higher education in science. (Available as a print.)
Long available only as a lucky find in a dusty corner of a second-hand bookshop, The Planets: A Cosmic Pastoral (public library) is now resurrected under Marginalian Editions. To celebrate its second life, I asked Diane, now approaching eighty, what has most surprised her about the universe, and the microcosm of the universe that is this life, since she wrote those dazzling poems in her twenties — a span of time in which we sequenced the human genome, invented the Internet, discovered gravitational waves and the Higgs boson and the first Earth-like planet orbiting another star, and then ten thousand more as the horizon of the observable universe spilled 93 billion light-years away from the awed eye that took 500 million years to go from trilobite to telescope.
Diane’s answer is nothing less than a prose poem:
Once, I thought the universe’s greatest gift was scale — those vaulting immensities of gas and dust, planets flaring like thoughts inside a skull of stars. But time, that sly astronomer, has shown me something subtler: how much of the same splendor hums within us and all of nature. The pulse of a leaf opening to sun, the quiet veer of a child’s attention, my own heartbeat a small percussion in ancient starlight — all are galaxies folded inward, universes in miniature.
What surprises me now is not just the infinite, but the intimate. That carbon dust became breath and laughter. That our cells remember ancient oceans. That every discovery, no matter how remote, begins with the same feral impulse: our roving curiosity reaching outward, hoping to belong to a larger story of life seeding itself throughout the universe. The Cosmos expands and so does our vertiginous curiosity, an old companion still sending sparks of wonder through the brief ribs of our lives.
1573 painting by the Portuguese artist Francisco de Holanda, a student of Michelangelo’s. (Available as a print and as stationery cards.)
In the author’s note to our new edition, Diane reflects on what had animated her when she wrote these eternal poems a lifetime ago:
I hoped that when readers closed the book they would feel a blend of rapture and responsibility — the sense that our little lives and the vast lives of other worlds are made of the same dust, bound by the same laws, and therefore implicated in one another’s fate. I hoped for a lingering awareness that the “cosmic” is not elsewhere: the calcium in our bones, the iron in our blood, the mold on bread, the storms on Jupiter, and the quiet in deep space are all chapters of a single ancestral story, and once you feel that kinship it becomes harder to treat other lives or other landscapes as expendable scenery.
I also hoped readers might feel a bridge between awe and stewardship: the knowledge that we are latecomers in an ancient universe who nonetheless possess a frightening and beautiful power to scar or to shelter the only world (at the moment) we know to be alive. I wanted that double sensation to persist—a childlike wonder before the everythingness of everything, and braided through it, the mature realization that wonder alone is not enough, that love of the cosmos must express itself as care for this particular planet, with all its ordinary (though often overlooked) natural miracles.
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