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Reviews The Abundance: Narrative Essays Old and New By Annie Dillard Ecco/HarperCollins The abundance, a selection from the work of one of the great, original voices in recent American letters, might just as easily be called The Absence. It speaks of absence—for nature’s profusion, in Annie Dillard, is everywhere the signage of the hidden god she seeks—and it also marks an absence: hers. Dillard’s first book appeared in 1974. Over the following 25 years, she published 10 more original volumes, including two that have achieved the status of modern classics, Pilgrim at Tinker Creek, a latter-day Walden, and The Writing Life, a “spiritual Strunk & White” (as one reviewer put it), and two more that deserve to, Holy the Firm, which might have been written in letters of flame, and Teaching a Stone to Talk, a jewel box of narrative meditations. (Some might add An American Childhood, her celebrated memoir.) In the 17 years since, she’s published one, and none since 2007. The Abundance only serves to underscore the dearth. The subtitle, Narrative Essays Old and New, is false advertising; there are no new pieces here. The most recent essay in the book, which is also the only one not included in a previous volume, is 11 years old. There are many reasons a writer might slow down or even stop, most of them mysterious to strangers. But Dillard’s turn to silence, if that is what it is, could in retrospect be seen as having been inevitable all along—given her choice of materials, her idiosyncratic sensibility, the very nature of her project.

Dillard declared her arrival, at the age of 28—brash and bold and talented beyond belief—with Pilgrim at Tinker Creek (1974). The book was unabashed about its lineage. An ardent young American takes to the woods, anchoring herself beside a water. Sojourning for many a season, she distills her experience down to a symbolic single year. “I propose to keep here,” she announces at the start of her account, “what Thoreau called ‘a meteorological journal of the mind.’ ” She scrutinizes nature with monastic patience and a microscopic eye. She delivers doctrine with the certainty of revelation and the arrogance (and agedness) of youth. She summons us to wake from dull routine. With flourishes of brass, she proclaims a new dawn. Ecco/HarperCollins The text itself is thickly planted with marvels to watch for, its vision fresh as Adam’s on the first day. A creek bank is a “twiggy haze.” A gibbous moon is “softly frayed, like the heel of a sock.” “It snowed all yesterday and never emptied the sky,” Dillard tells us. “Any object at a distance—like the dead, ivy-covered walnut I see from the bay window—looked like a black-and-white frontispiece seen through the sheet of white tissue.” But she doesn’t need a simile to send a sense aloft. Muskrats in their dens “strew the floor with plant husks and seeds, rut in repeated bursts, and sleep humped and soaking, huddled in balls.” The language makes of brute factuality a verbal music. An egg case of a praying mantis “has a dead straw, dead weed color, and a curious brittle texture, hard as varnish, but pitted minutely, like frozen foam.” There are flashes of humor as well. Newts “are altogether excellent creatures, if somewhat moist, but no one pays the least attention to them, except children.” Children, of course, and her.

Yet for all Dillard’s brilliance as a nature writer, nature isn’t finally her subject. She situates herself on territory like Thoreau’s but faces toward a very different compass point. He also went to nature, truth be told, with other things in mind. He looked at the pond, but he was thinking about Concord—how the people there lived, and how it might be possible to live another way. Walden’s first, long chapter is titled “Economy,” complete with lists of expenditures for things like nails and lard. We watch him build his famous little house, and plant his beans, and chop his wood, which warms him twice. Dillard scrutinizes nature with monastic patience and a microscopic eye. But in Pilgrim there is no economy and no society. We don’t know how Dillard lives, or how she makes a living, or much of anything about her circumstances. Notwithstanding the occasional, distant presence of neighbors in the book, it comes as a surprise to find her describing the creek’s vicinity, in a subsequent volume, as suburban—and a shock to learn, from biographical sources, that she was married the whole time. In a curious way, she is absent from her own book, at least as more than an Emersonian eyeball (albeit one that’s cabled to a buzzing brain), and others are absent altogether. The cabin near Concord had plenty of visitors—in fact, there’s a whole chapter in Walden called “Visitors”—among whom was Thoreau’s dear friend Ellery Channing. Dillard has a companion named Ellery Channing too, but he’s a goldfish. Thoreau, whose commandment is “simplify,” wants to reconstruct society from the ground up. Dillard, whose law is “look,” only wants to renovate your soul. Read Follow-Up Notes Annie Dillard and The Atlantic's history of nature writing She looks at crayfish, looks at copperheads, looks at a little green frog, half out of the water, that as she watches “crumpled and began to sag… shrinking before my eyes like a deflating football,” its innards liquefied and emptied by a giant biting bug. But looking at these marvels, she is always looking for God. She is not a naturalist, not an environmentalist; she’s a theologian—a pilgrim. Her field notes on the physical world are recorded as researches toward the fundamental metaphysical conundra: Why is there something rather than nothing, and what on Earth are we doing here? What, in other words—with crayfish and copperheads and giant biting bugs, with creeks and stars and human beings with their sense of beauty—does God have in mind? Dillard, needless to say, does not answer these questions. But the striking thing about her search for God is that she sometimes finds him. Pilgrim’s second chapter, after a kind of introduction, is titled “Seeing.” (Both sections are included in The Abundance.) There are two kinds, she explains. The common variety is active, where you strain, against the running babble of internal monologue, to pay attention to what’s actually in front of you. That’s the sort of seeing that produces perceptions, and phrases, like twiggy haze. But, she tells us, “there is another kind of seeing that involves a letting go.” You do not seek, you wait. It isn’t prayer; it is grace. The visions come to you, and they come from out of the blue.

The distinction is akin to Proust’s two forms of memory. His holy grail, you might recall, is the involuntary kind, the kind that bursts upon you unexpectedly, as when the narrator’s entire childhood unfurls from the madeleine. That is the epiphany; that is the miracle. So it is with Dillard. She tells us about a girl who was cured of congenital blindness and, being taken into a garden, saw, as she put it, “the tree with the lights in it.” It was for that tree, Dillard says, that she herself searched for years: Then one day, walking along Tinker Creek, thinking of nothing at all, I saw it—the tree with the lights in it. It was the same backyard cedar where the mourning doves roost, only charged and transfigured, each cell buzzing with flame … It was less like seeing than like being for the first time seen, knocked breathless by a powerful glance … I had been my whole life a bell, and never knew it until at that moment I was lifted and struck. The encounter is erotic (“knocked breathless by a powerful glance”), like the ecstasies of Saint Teresa. God has seen and seized her, claimed her. This, again, is something very different from Thoreau’s experience. To use a pair of terms that Dillard introduces in a later book, she is not a pantheist (as he was) but a panentheist. God, panentheism says, is not coextensive with, identical to, the physical world, the world of nature. He is a being that transcends it even as he dwells within it. Get rid of nature, for the pantheist, and you get rid of God. Get rid of nature, for the panentheist, and you see him all the clearer. That, I think, is why it has to be a creek for Dillard, not a pond. Walden, in its depth and stillness (the attributes Thoreau insists upon most keenly), symbolizes nature’s stability and serenity. The world abides and always will. But the creek, for Dillard, is energy, divine spirit, “the stream of light pouring down.” The world does not abide. Creation is continuous, and the heavens will be rolled up as a scroll. She watches the water, but waits for the flame. The striking thing about Dillard’s search for God is that she sometimes finds him. Thoreau runs his narrative year from spring to spring—nature filling up, emptying, and starting to fill up again. Dillard runs her own from winter to winter; the emphasis is on the emptiness. In an afterword written for the 25th-anniversary edition, she reveals a deeper, two-part structure. “Neoplatonic Christianity described two routes to God: the via positiva and the via negativa. Philosophers on the via positiva assert that God… possesses all positive attributes.” Those along the other pathway “stressed God’s unknowability.” They “jettisoned everything that was not God; they hoped that what was left would be only the divine dark.” Pilgrim, Dillard says, walks both routes in succession. The first half, culminating with the summer solstice, is the plenitude; the second the reduction. A final chapter recapitulates the movement. Its epigraph—employed again in The Abundance—comes from the Koran. “They will question thee concerning what they should expend. Say: ‘The Abundance.’ ” Accumulate, then spend. Accumulate to spend. Gather nature to get rid of it—but you can’t get rid of it until you’ve done the formic labor that such gathering entails.

Get rid of nature, to see the God who dwells in nature. It sounds paradoxical, and it is. (Dillard quotes Augustine in a later book: “If you do understand, then it is not God.”) But Dillard has been chasing that paradox ever since. The via negativa, with its purity and stringency, clearly proved to be the more congenial path. Virginia, where she’d come for college, did not turn out to be her landscape. From Tinker Creek, beneath the Blue Ridge Mountains in the lushness of the Roanoke Valley, she decamped, the year after publishing Pilgrim, for a place considerably more austere: Lummi Island, in the northern reaches of Puget Sound. The region, with its wall of mountains to the east and endless salted ocean to the west, was for her, as she was soon to call it, “the edge of the known and comprehended world… the western rim of the real… the fringey edge… where time and eternity spatter each other with foam”—a place, in other words, where nature stops and the darkness of divinity begins. From the Archives Annie Dillard in The Atlantic The description comes from Holy the Firm (1977), the work she proceeded to write there, a book that is to Pilgrim what Lummi Island is to Tinker Creek. It throws out the crayfish and copperheads, the frogs, the bugs, the twigs, the scientific lore, all meanderings of thought and ambulation. The text runs 65 pages, short ones, and the prose seems pressed out drop by drop. Dillard later said the book took 14 months to write, full-time, which works out to something like 25 words a day. The sentences are bitten rock, bitter water, biting wind: “Nothing is going to happen in this book. There is only a little violence here and there in the language, at the corner where eternity clips time.” The final phrase articulates the volume’s central theme. For eternity, read “God.” For time, read “the world” (i.e., us). For clips, read “kills”—or maims, burns, starves, causes anguish or grief—that “little violence here and there.” Dillard later explained, in An American Childhood (1987), that she had quit her church, at age 16, over the problem of suffering, the evident impossibility of reconciling the idea of a loving God with the circumstances that prevail in his creation, the law of universal pain. This is the problem of Job, and like whoever wrote his story, Dillard doesn’t try to offer a solution. She knows that all you can really do is frame the question, which she does by telling us about a child named Julie Norwich. Julie is a local girl, 7 years old. Holy the Firm presents itself as the record of three days on the island. On the second, Julie goes down in a plane crash—her father, flying the craft, is unharmed—and has her face burnt off. She might be a god on Olympus, looking down impassively on human suffering. I doubt that Julie Norwich ever existed. Her name is an echo of Julian of Norwich, the medieval anchoress and mystic, whom Dillard had alluded to in Pilgrim. Julie’s parents are Jesse and Ann, the father of King David (a figure for Christ in Christian typology) and the mother of the Virgin Mary. Dillard also gives us dates for the book’s events (for example, Friday, November 20) that seem deliberately to misalign with the two years during which the narrative might have taken place. But it doesn’t matter whether Julie is real. Her story is a parable, like Job’s. Her story is a riddle, like his. Why do such things happen? For they happen all the time and everywhere around us. In “The Deer at Providencia,” an essay published just around the time she moved to Puget Sound (also reproduced in The Abundance), Dillard writes about a trip to South America. One day she sees a deer tied up in a village. It’s going to be dinner that night. In language flayed to rawness she describes its suffering: Trying to get itself free of the rope, the deer had cut its own neck with its hooves … Now three of its feet were hooked in the rope under its jaw. It could not stand … so it could not move to slacken the rope and ease the pull on its throat … Its hip jerked; its spine shook. Its eyes rolled; its tongue, thick with spit, pushed in and out. She might be a god on Olympus, looking down impassively on human suffering. (She’s also testing us to see how we react.) Afterward she eats a lavish lunch, including a venison stew. Her companions, older men, are surprised at her detachment. “Gentlemen of the city,” she apostrophizes them in the essay, “what surprises you? That there is suffering here, or that I know it?” She has thought about the fact that she (and we, and many, many other animals) eat meat. “These things are not issues,” she tells us. “They are mysteries.”

Issues are addressed; mysteries are witnessed. The story of Julie Norwich, in the second part of Holy the Firm, is prefigured by another story in the first. (The most celebrated passage in the book, the earlier story is also in the new collection.) Dillard is camping. A moth gets stuck in her candle flame. It burns—then, a hollowed shell, a wick, it keeps on burning. “The moth’s head was fire. She burned for two hours… like a hollow saint, like a flame-faced virgin gone to God, while I read by her light, kindled, while Rimbaud in Paris burnt out his brains in a thousand poems.” The final reference blossoms in the volume’s final third. The virgin Julie, consecrated by the touch of God, will nonetheless undoubtedly go back into the world, Dillard thinks. So she herself will be the nun, the anchoress, instead. Which means the poet, the artist: head afire, channeling the Holy Spirit, “lighting the kingdom of God for the people to see.” Giving her life to illuminate the divine darkness. Bearing witness to the dear. Such is the vocation Dillard expands on in The Writing Life (1989). The book is not a manual of tips. It is a portrait of the artist as a soul, its moral qualities and moral situation, offered in the second person. “You were made and set here to give voice to this, your own astonishment.” And: “Spend it all, shoot it, play it, lose it, all, right away, every time.” The book proceeds, like all her finest work, as a series of extended metaphors. The writer is a miner with a pick; the writer is a pilot with a plane; the writer is a rower in a skiff, towing a log against the current, heading stoutly always in the same direction. The volume’s dominant motif is the single room: a shed on Cape Cod, a cabin on a Puget beach, an office, a study, a carrel (a cockpit, a skiff)—the hermit’s cell, the mind alone with itself. “One wants a room with no view, so imagination can meet memory in the dark.”

The work is a collage, like all her finest books. Dillard has remarked that her objective as a writer of prose has been to reproduce, on a larger scale, poetry’s “capacity for deep internal structures of meaning.” (Her first book, in 1974, was a volume of lyrics, Tickets for a Prayer Wheel. Later, in 1995, she published Mornings Like This, whose poems are assemblages of sentences from other people’s books, one book per poem.) She creates these structures like an artisan working in stained glass. A piece of this, a piece of that, a moment, a story, a scientific fact, a bit of spiritual wisdom: underneath, an iron structure; on the surface, what appears to be a mind at dazzling play. Pilgrim was assembled from a heap of index cards. “ ‘Seeing,’ ” that second chapter, “gave me so much trouble to put together I nearly abandoned the book.” For the Time Being (1999), her most recent work but one, consists of seven sections, each one cycling through a set of rubrics in fixed order (“birth,” “sand,” “China,” “clouds”), 10 of them, a kind of rosary, their facets winking as they’re turned and turned about. The meanings happen in the parts, and in the spaces in between them. In Teaching a Stone to Talk (1982), the pieces are essays themselves. The collection, which includes “The Deer at Providencia,” might just be her greatest book, and it receives the largest share of The Abundance. Its finest piece, its central piece, the one that’s chosen to conclude the new collection, is “An Expedition to the Pole.” The essay is a single long extended metaphor in which the journey toward the Absolute—a k a the God of silence—which she elsewhere calls “this feckless prospecting in the dark for the unseen,” the lifelong effort to know the unknowable and to say the unsayable, is likened to the polar expeditions of yore. To most of us, as Dillard knows, the effort seems completely pointless. To her it is the only thing that gives our life a point.

Make no mistake about her spiritual extremity. This is a woman who has seen angels (as she tells us in another essay), who has seen visions, who has seen the tree with the lights in it, which another witness called the burning bush. But miracles like that, she later came to feel, are things that happen only to the young. Her mission since may be conceived of as a quest to recapture those glimpses by other, more deliberate means. No longer could she count on cracks appearing of a sudden in the midst of things through which the holy might pour. So she went to the edges. After Virginia, the scenes of her writing are almost uniformly places of, or next to, emptiness: Puget Sound, Cape Cod, the Alaskan Arctic, the Galápagos, the deserts of China and Israel—the wilderness, eternal haunt of seekers. Virginia itself, which she left around the time she turned 30, may be seen, in its spiritual fecundity, as a kind of figure for youth, her empty spaces as a metaphor for middle age. The only thing that gives our life a point. Dillard, like Thoreau, is never shy about pronouncing wholesale condemnation on the way her fellows live. To her the mass of men lead lives not of quiet desperation but of superficiality, insensibility, and rank illusion. We live as if we think we’re never going to die. We live as if our petty business counted. We live as if we weren’t as numerous as sand, and each of us ephemeral as clouds. We live as if there hadn’t been a hundred thousand generations here before us, and another hundred thousand were not still to come. Yet all around us holiness and grace, freely given every moment for the taking. “One wants a room with no view, so imagination can meet memory in the dark.” One of the most remarkable things about her work, in fact, is just how much is absent from it. No economy, no society: no current events, no public affairs, no social engagement. With few exceptions, her writing seems to take place entirely outside the history of its own time. (A contrast may be drawn with Marilynne Robinson, Dillard’s nearest kin among contemporary authors, whose religious convictions are inseparable from strong political and social commitments.) “I had a head for religious ideas,” Dillard reports in An American Childhood, her chronicle of growing up in postwar, upper-class Pittsburgh, a book that is largely concerned with the development, in solitude, of the writer’s own consciousness. “They made other ideas seem mean.”

That feeling, it appears, has never altered. The social novel, the novel that “aims to fasten down the spirit of its time,” she tells us in The Writing Life, “has never seemed to me worth doing.” Her own novels, The Living (1992) and The Maytrees (2007), each a brilliant performance, find different ways to eschew the contemporary. The first is a multigenerational saga, set in the late 19th century, about the earliest white settlements near Puget Sound, written, with remarkable fidelity and tact, in period idiom. But it isn’t really about history, either, in the sense of thinking that it matters, or seeing it in terms of some kind of development, or tracing its connections, if only implicitly, to the present. Like all her work, the novel is about the fact of being alive, for a brief span, within the overwhelming context of the natural world. The Maytrees, her most recent book—its prose a prodigy of velocity and precision, language concentrated to an essence—dissents in space instead of time, taking up a handful of Provincetown bohemians, a kind of spiritual elect, who devote themselves to art, simplicity, and contemplation out there on the Outer Cape. Dillard’s mind is on eternity; she couldn’t give a damn about the spirit of her time. That, of course, is her prerogative (though the odor of self-congratulation starts to get a little thick in The Maytrees). But it points to several problems, and beyond them, to a fundamental limitation. For she is not content to walk her path in solitude. She also wants to tell us how to live. She has an ethic as well as a metaphysic, and it consists, in its entirety, of worship. “Quit your tents,” she preaches. “Pray without ceasing.” Dillard doesn’t seem to understand it’s not that simple, and I think it’s fair to note here not only that her family was rich, but that she married, in college, an established professional (and published, early, a perennial best seller). “It is noble work,” she says in reference to another pilgrim’s spiritual exercises, “and beats, from any angle, selling shoes.” Except the part where you, you know, get to feed your family.