Annie dillard quotes

The sense impressions of one-celled animals are not edited for the brain. This is philosophically interesting in a rather mournful way, since it means that only the simplest animals perceive the universe as it is.

Ecstasy, I think, is a soul's response to the waves holiness makes as it nears.

These are our few live seasons. Let us live them as purely as we can, in the present.

How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing. A schedule defends from chaos and whim. It is a net for catching days. It is a scaffolding on which a worker can stand and labor with both hands at sections of time. A schedule is a mock-up of reason and order—willed, faked, and so brought into being; it is a peace and a haven set into the wreck of time; it is a lifeboat on which you find yourself, decades later, still living.

I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you.

The sea pronounces something, over and over, in a hoarse whisper; I cannot quite make it out.

The dedicated life is worth living. You must give with your whole heart.

At a certain point, you say to the woods, to the sea, to the mountains, the world, Now I am ready. Now I will stop and be wholly attentive. You empty yourself and wait, listening.

The way we live our days, is the way we live our lives.

Whenever there is stillness there is the still small voice, God's speaking from the whirlwind, nature's old song, and dance.

At its best, the sensation of writing is that of any unmerited grace. It is handed to you, but only if you look for it.

The real and proper question is: why is it beautiful?

Possibly everyone now dead considered his own death as a freak accident, a mistake. Some bad luck caused it. Every enterprising man jack of them, and every sunlit vigorous woman and child, too, who had seemed so alive and pleased, was cold as a meat hook, and new chattering people trampled their bones unregarding, and rubbed their hands together and got to work improving their prospects till their own feet slipped and they went under themselves ... Every place was a tilting edge.

Art is like an ill-trained Labrador retriever that drags you out into traffic.

An Inuit hunter asked the local missionary priest: If I did not know about God and sin, would I go to hell? No, said the priest, not if you did not know. Then why, asked the Inuit earnestly, did you tell me?

Write about winter in the summer. Describe Norway as Ibsen did, from a desk in Italy; describe Dublin as James Joyce did, from a desk in Paris. Willa Cather wrote her prairie novels in New York City; Mark Twain wrote Huckleberry Finn in Hartford, Connecticut. Recently, scholars learned that Walt Whitman rarely left his room.

The extravagant gesture is the very stuff of creation.

As a thinker I keep discovering that beauty itself is as much a fact, and a mystery...I consider nature's facts -- its beautiful and grotesque forms and events -- in terms of the import to thought and their impetus to the spirit. In nature I find grace tangled in a rapture with violence; I find an intricate landscape whose forms are fringed in death; I find mystery, newness, and a kind of exuberant, spendthrift energy.

The life of sensation is the life of greed; it requires more and more. The life of the spirit requires less and less.

All the green in the planted world consists of these whole, rounded chloroplasts wending their ways in water. If you analyze a molecule of chlorophyll itself, what you get is one hundred thirty-six atoms of hydrogen, carbon, oxygen, and nitrogen arranged in an exact and complex relationship around a central ring. At the ring's center is a single atom of magnesium. Now: If you remove the atom of magnesium and in its exact place put an atom of iron, you get a molecule of hemoglobin. The iron atom combines with all the other atoms to make red blood, the streaming red dots in the goldfish's tail.

Spend the afternoon. You can't take it with you.

Skin was earth; it was soil. I could see, even on my own skin, the joined trapezoids of dust specks God had wetted and stuck with his spit the morning he made Adam from dirt. Now, all these generations later, we people could still see on our skin the inherited prints of the dust specks of Eden.

It's about waking up. A child wakes up over and over again, and notices that she's living. She dreams along, loving the exuberant life of the senses, in love with beauty and power, oblivious to herself -- and then suddenly, bingo, she wakes up and feels herself alive. She notices her own awareness. And she notices that she is set down here, mysteriously, in a going world.

The reader's ear must adjust down from loud life to the subtle, imaginary sounds of the written word. An ordinary reader picking up a book can't yet hear a thing; it will take half an hour to pick up the writing's modulations, its ups and downs and louds and softs.

Our life is a faint tracing on the surface of mystery.

We are here to bring to consciousness the beauty and power that are around us and to praise the people who are here with us.

If we listened to our intellect, we’d never have a love affair... or go into business. You’ve got to jump off cliffs and build your wings on the way down.

I had hopes for my rough edges. I wanted to use them as a can opener, to cut myself a hole in the world's surface and exit through it.

We are here to abet creation and to witness to it, to notice each other's beautiful face and complex nature so that creation need not play to an empty house.

Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.

The silence is all there is. It is the alpha and the omega, it is God's brooding over the face of the waters; it is the blinded note of the ten thousand things, the whine of wings. You take a step in the right direction to pray to this silence, and even to address the prayer to "World." Distinctions blur. Quit your tents. Pray without ceasing.

I do not so much write a book as sit up with it, as a dying friend. I hold its hand and hope it will get better.

What is a house but a bigger skin, and a neighborhood map but the world's skin ever expanding?

Like any child, I slid into myself perfectly fitted, as a diver meets her reflection in a pool. Her fingertips enter the fingertips on the water, her wrists slide up her arms. The diver wraps herself in her reflection wholly, sealing it at the toes, and wears it as she climbs rising from the pool, and ever after.

You can't test courage cautiously, so I ran hard and waved my arms hard, happy.

Our life is a faint tracing on the surface of mystery, like the idle, curved tunnels of leaf miners on the face of a leaf

We wake, if ever at all, to mystery.

Why are we reading if not in hope that the writer will magnify and dramatize our days, will illuminate and inspire us with wisdom, courage, and the possibility of meaningfulness, and will press upon our minds the deepest mysteries, so that we may feel again their majesty and power? What do we ever know that is higher than that power which, from time to time, seizes our lives, and reveals us startlingly to ourselves as creatures set down here bewildered?

The point of going somewhere like the Napo River in Ecuador is not to see the most spectacular anything. It is simply to see what is there.

The world knew you before you knew the world.

You do not have to sit outside in the dark. If, however, you want to look at the stars, you will find that darkness is necessary. But the stars neither require nor demand it.

I think that the dying pray at the last not please but thank you, as a guest thanks his host at the door. Falling from airplanes the people are crying thank you, thank you, all down the air; and the cold carriages draw up for them on the rocks.

[Insects] are not only cold-blooded, and green- and yellow-blooded, but are also cased in a clacking horn. They have rigid eyes and brains strung down their backs. But they make up the bulk of our comrades-at-life, so I look to them for a glimmer of companionship.

If we were to judge nature by common sense or likelihood, we wouldn't believe the world existed.

Peeping through my keyhold I see within the range of only about 30 percent of the light that comes from the sun; the rest is infrared and some little ultraviolet, perfectly apparent to many animals, but invisible to me. A nightmare network of ganglia, charged and firing without my knowledge, cuts and splices what I see, editing it for my brain. Donald E. Carr points out that the sense impressions of one-celled animals are not edited for the brian: 'This is philosophically interesting in a rather mournful way, since it means that only the simplest animals perceive the universe as it is.

The mind itself is an art object ... The mind is a blue guitar on which we improvise the song of the world.

One of the few things I know about writing is this: Spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book, give it, give it all, give it now.

You can't test courage cautiously.

Last forever!' Who hasn't prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying.

There is a certain age at which a child looks at you in all earnestness and delivers a long, pleased speech in all the true inflections of spoken English, but with not one recognizable syllable. There is no way you can tell the child that if language had been a melody, he had mastered it and done well, but that since it was in fact a sense, he had botched it utterly.

A work in progress quickly becomes feral. It reverts to a wild state overnight. It is barely domesticated, a mustang on which you one day fastened a halter, but which now you cannot catch. It is a lion you cage in your study. As the work grows, it gets harder to control; it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, "Simba!

I cannot cause light; the most I can do is try to put myself in the path of its beam.

We are here to witness the creation and to abet it. We are here to notice each thing so each thing gets noticed. Together we notice not only each mountain shadow and each stone on the beach but, especially, we notice the beautiful faces and complex natures of each other. We are here to bring to consciousness the beauty and power that are around us and to praise the people who are here with us. We witness our generation and our times. We watch the weather. Otherwise, creation would be playing to an empty house.

No one escapes the wilderness on the way to the promised land.

Caring passionately about something isn't against nature, and it isn't against human nature. It's what we're here to do.

We live in all we seek. The hidden shows up in too-plain sight. It lives captive on the face of the obvious - the people, events, and things of the day - to which we as sophisticated children have long since become oblivious. What a hideout: Holiness lies spread and borne over the surface of time and stuff like color.

Trees have a curious relationship to the subject of the present moment. There are many created things in the universe that outlive us, that outlive the sun, even, but I can't think about them. I live with trees.

One of the few things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. . . . Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.

The answer must be, I think, that beauty and grace are performed whether or not we will or sense them. The least we can do is try to be there.

What a hideout: Holiness lies spread and borne over the surface of time and stuff like color.

You can serve or you can sing, and wreck your heart in prayer, working the world's hard work.

Nature seems to exult in abounding radicality, extremism, anarchy. If we were to judge nature by its common sense or likelihood, we wouldn't believe the world existed. In nature, improbabilities are the one stock in trade. The whole creation is one lunatic fringe. ... No claims of any and all revelations could be so far-fetched as a single giraffe.

An Eskimo shaman said, Life's greatest danger lies in the fact that man's food consists entirely of souls.

Hone and spread your spirit till you yourself are a sail, whetted, translucent, broadside to the merest puff.

I don't know what it is about fecundity that so appalls. I suppose it is the teeming evidence that birth and growth, which we value, are ubiquitous and blind, that life itself is so astonishingly cheap, that nature is as careless as it is bountiful, and that with extravagance goes a crushing waste that will one day include our own cheap lives.

Make connections; let rip; and dance where you can.

Nature's silence is its one remark, and every flake of world is a chip off that old mute and immutable block.

I know only enough of God to want to worship him, by any means ready to hand.

The universe that suckled us is a monster that does not care if we live or die--it does not care if it itself grinds to a halt. It is a beast running on chance and death, careening from nowhere to nowhere. It is fixed and blind, a robot programmed to kill. We are free and seeing; we can only try to outwit it at every turn to save our lives.

Experiencing the present purely is being empty and hollow; you catch grace as a man fills his cup under a waterfall.

Nothing moves a woman so deeply as the boyhood of the man she loves.

Adverbs are a sign that you've used the wrong verb.

We sleep to time's hurdy-gurdy; we wake, if ever we wake, to the silence of God. And then, when we wake to the deep shores of time uncreated, then when the dazzling dark breaks over the far slopes of time, then it's time to toss things, like our reason, and our will; then it's time to break our necks for home. There are no events but thoughts and the heart's hard turning, the heart's slow learning where to love and whom. The rest is merely gossip, and tales for other times.

Crystals grew inside rock like arithmetic flowers. They lengthened and spread, added plane to plane in an awed and perfect obedience to an absolute geometry that even stones - maybe only the stones - understood.

Push it. examine all things intensely and relentlessly.

Nature is, above all, profligate. Don't believe them when they tell you how economical and thrifty nature is, whose leaves return to the soil. Wouldn't it be cheaper to leave them on the tree in the first place? This deciduous business alone is a radical scheme, the brainchild of a deranged manic-depressive with limitless capital. Extravagance! Nature will try anything once.

Learn punctuation; it is your little drum set, one of the few tools oyu have to signal the reader where the beats and emphases go. (If you get it wrong, any least thing, the editor will throw your manuscript out.) Punctuation is not like musical notation; it doesn't indicate the length of pauses, but instead signifies logical relations. There are all sorts of people out there who know these things very well. You have to be among them even to begin.

The secret is not to write about what you love best, but about what you, alone, love at all.

There is no shortage of good days. It is good lives that are hard to come by.

I cannot imagine a sorrier pursuit than struggling for years to write a book that attempts to appeal to people who do not read in the first place.

I woke in bits, like all children, piecemeal over the years. I discovered myself and the world, and forgot them, and discovered them again.

I alternate between thinking of the planet as home - dear and familiar stone hearth and garden - and as a hard land of exile in which we are all sojourners.

Even if things are as bad as they could possible be, and as meaningless, then matters of truth are themselves indifferent; we may as well please our sensibilities and, with as much spirit as we can muster, go out with a buck and a wing.

The gaps are the thing. The gaps are the spirit's one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself like a once-blind man unbound. The gaps are the clefts in the rock where you cower to see the back parts of God; they are fissures between mountains and cells the wind lances through, the icy narrowing fiords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock-more than a maple-universe.

You search, you break your heart, your back, your brain, and then-and only then-it is handed to you.

There is no shortage of good days. It is good lives that are hard to come by. A life of good days lived in the senses is not enough. The life of sensation is the life of greed; it requires more and more. The life of the spirit requires less and less; time is ample and its passage sweet. Who would call a day spent reading a good day? But a life spent reading -- that is a good life.

The more you read, the more you will write. The better the stuff you read, the better the stuff you will write.

I am a frayed and nibbled survivor in a fallen world, and I am getting along. I am aging and eaten and have done my share of eating too. I am not washed and beautiful, in control of a shining world in which everything fits, but instead am wondering awed about on a splintered wreck I've come to care for, whose gnawed trees breathe a delicate air, whose bloodied and scarred creatures are my dearest companions, and whose beauty bats and shines not in its imperfections but overwhelmingly in spite of them.

When you write, you lay out a line of words. The line of words is a miner's pick, a wood carver's gouge, a surgeon's probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next year.

No child on earth was ever meant to be ordinary, and you can see it in them, and they know it, too, but then the times get to them, and the wear out their brains learning what folks expect, and spend their strength trying to rise over those same folks.

After the one extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever-fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look I see fire; that which isn't flint is tinder, and the whole world sparks and flames.

We are most deeply asleep at the switch when we fancy we control any switches at all.

Divinity is not playful. The universe was not made in jest but in solemn incomprehensibl e earnest. By a power that is unfathomably secret, and holy, and fleet. There is nothing to be done about it, but ignore it, or see.

It was less like seeing than like being for the first time seen, knocked breathless by a powerful glance.

The point of the dragonfly's terrible lip, the giant water bug, birdsong, or the beautiful dazzle and flash of sunlighted minnows,is not that it all fits together like clockwork--for it doesn'tbut that it all flows so freely wild, like the creek, that it all surges in such a free, finged tangle. Freedom is the world's water and weather, the world's nourishment freely given, its soil and sap: and the creator loves pizzazz.

Writing a book is like rearing children -- willpower has very little to do with it. If you have a little baby crying in the middle of the night, and if you depend only on willpower to get you out of bed to feed the baby, that baby will starve. You do it out of love.

I would like to live. . . open to time and death painlessly, noticing everything, remembering nothing, choosing the given with a fierce and pointed will.

When I was six or seven years old, growing up in Pittsburgh, I used to take a precious penny of my own and hide it for someone else to find. I was greatly excited at the thought of the first lucky passerby who would receive a gift in this way, regardless of merit, a free gift from the universe. . . . I've been thinking about seeing. There are lots of things to see, unwrapped gifts and free surprises. The world is fairly studded and strewn with pennies cast broadside from a generous hand.

We are here on the planet only once, and might as well get a feel for the place.

I cannot cause light; the most I can do is try to put myself in the path of its beam. It is possible, in deep space, to sail on solar wind. Light, be it particle or wave, has force: you can rig a giant sail and go. The secret of seeing is to sail on solar wind. Hone and spread your spirit till you yourself are a sail, whetted, translucent, broadside to the merest puff

Write as if you were dying. At the same time, assume you write for an audience consisting solely of terminal patients. That is, after all, the case. What would you begin writing if you knew you would die soon? What could you say to a dying person that would not enrage by its triviality?

Our life is a faint tracing on the surface of mystery, like the idle curved tunnels of leaf miners on the face of a leaf. We must somehow take a wider view, look at the whole landscape, really see it, and describe what's going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise.

I breathed the air of history all unaware, and walked oblivious through its littered layers.

Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.

It is madness to wear ladies' straw hats and velvet hats to church; we should all be wearing crash helmets. Ushers should issue life preservers and signal flares; they should lash us to our pews. For the sleeping God may wake someday and take offense, or the waking God may draw us out to where we can never return.

I break up through the skin of awareness a thousand times a day, as dolphins burst through seas, and dive again, and rise, and dive.

Time is the warp and matter the weft of the woven texture of beauty in space, and death is the hurling shuttle.

No, the point is not only does time fly and do we die, but that in these reckless conditions we live at all, and are vouchsafed, for the duration of certain inexplicable moments, to know it.

You have to take pains in a memoir not to hang on the reader's arm, like a drunk, and say, 'And then I did this and it was so interesting.

It has always been a happy thought to me that the creek runs on all night, new every minute, whether I wish it or know it or care, as a closed book on a shelf continues to whisper to itself its own inexhaustible tale. So many things have been shown so to me on these banks, so much light has illumined me by reflection here where the water comes down, that I can hardly believe that this grace never flags, that the pouring from ever-renewable sources is endless, impartial, and free.

We live in all we seek.

I had been my whole life a bell, and never knew it until at that moment I was lifted and struck.

The world is fairly studded and strewn with pennies cast broadside by a generous hand. But- and this is the point- who gets excited by a mere penny? But if you cultivate a healthy poverty and simplicity, so that finding a penny will literally make your day, then, since the world is in fact planted in pennies, you have with your poverty bought a lifetime of days.

There is always the temptation in life to diddle around making itsy-bitsy friends and meals and journeys for years on end. It is all so self conscience, so apparently moral...But I won't have it. The world is wilder than that in all directions, more dangerous...more extravagant and bright. We are...raising tomatoes when we should be raising Cain, or Lazarus.

Every live thing is a survivor on a kind of extended emergency bivouac.

Why do you never find anything written about that idiosyncratic thought you advert to, about your fascination with something no one else understands? Because it is up to you. There is something you find interesting, for a reason hard to explain. It is hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment.

How we spend our days is, of course, how we spend our lives.

I wake expectant, hoping to see a new thing.

She is nine, beloved, as open-faced as the sky and as self-contained. I have watched her grow. As recently as three or four years ago, she had a young child's perfectly shallow receptiveness; she fitted into the world of time, it fitted into her, as thoughtlessly as sky fits its edges, or a river its banks. But as she has grown, her smile has widened with a touch of fear and her glance has taken on depth. Now she is aware of some of the losses you incur by being here--the extortionary rent you have to pay as long as you stay.

The universe was not made in jest but in solemn incomprehensible earnest.

Geography is the key, the crucial accident of birth. A piece of protein could be a snail, a sea lion, or a systems analyst, but it had to start somewhere. This is not science; it is merely metaphor. And the landscape in which the protein "starts" shapes its end as surely as bowls shape water.

I am a fugitive and a vagabond, a sojourner seeking signs.

It is ironic that the one thing that all religions recognize as separating us from our creator, our very self-consciousness, is also the one thing that divides us from our fellow creatures. It was a bitter birthday present from evolution.

I feel as though I stand at the foot of an infinitely high staircase, down which some exuberant spirit is flinging tennis ball after tennis ball, eternally, and the one thing I want in the world is a tennis ball.

How can people think that artists seek a name? A name, like a face, is something you have when you're not alone. There is no such thing as an artist: there is only the world, lit or unlit as the light allows.