By David M. Carroll
The author, naturalist, and artist David Carroll illuminates the ecology and lifestyles histories the tree frogs, hawks, foxes, and the more and more infrequent wooden and noticed turtles he has been monitoring for many years with the precision and fervour that gained him a 2006 MacArthur "genius" award.
Following theWater is the intensely saw chronicle of Carroll's annual March-to-November wetlands immersion—from the enjoyment of the 1st turtle sighting in March to the gorgeously defined, brilliant trilling of tree frogs ("lichen with eyes") in overdue could to the traditional experience of affection and loss Carroll reviews each one autumn whilst it's time once more to half with open water.
Illustrated with the author's tremendous pen-and-ink drawings, Following the Water is a beautiful evocation of nature, an totally distinct "admission price tag to a mystery nook of the world" (Bill McKibben).
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Extra resources for Following the Water: A Hydromancer's Notebook
Example text
The four years in these various concentration camps did not, however, silence him. On Makronisos he placed his poems in a bottle which he buried in the stony ground; on Agios Efstratios ('Ai Stratis') he was able to recite his works to his fellow prisoners - which explains the straightforward style employed during this period. Probably the most celebrated individual piece is the 'Letter to Joliet-Curie', dated November 1950, a poem which was smuggled out of Greece at the time, unknown to its author.
He followed the somnambulist's steps above him on the roo£ Each step echoed without end in his own hollowness, thick and muffled. He stood at the window, waiting to catch him if he fell. But if he too was pulled down in his fall? A shadow of a bird on the wall? A star? He? His hands? The thud was heard on the stone pavement. Dawn. The windows opened. The neighbours ran. The somnambulist was running down the fire escape to look at the one who had fallen from the window. 55 Shadows of Movement ' I'll go away' - she said - ' I'll go away.
We should also add that Ritsos, a poet not normally given to theorizing in prose about his verse, has never theless issued in recent years some crucial statements of intent. In an unpublished introduction to Testimonies broadcast in Prague in October 1962, he spoke about his growing conscious ness of all that is 'vague, perplexing, incomprehensible and directionless in life . ', about his desire to hide the tragic element of the poems behind a 'mask of impassivity', about his love for the words 'perhaps' and 'or', his fear of rhetoric, his continuing gratitude for everything that life has to offer, and his unshaken belief that the role of ar t is to transform negation into affrrmation.