Landscape and Narrative
One summer evening in a remote village in the Brooks Range of Alaska, I sat among a group of men listening to hunting stories about the trapping and pursuit of animals. I was particularly interested in several incidents involving wolverine, in part because a friend of mine was studying wolverine in Canada, among the Cree, but, too, because I find this animal such an intense creature. To hear about its life is to learn more about fierceness.
Wolverine are not intentionally secretive, hiding their lives from view, but they are seldom observed. The range of their known behavior is less than that of, say, bears or wolves. Still, that evening no gratuitous details were set out. This was somewhat odd, for wolverine easily excite the imagination; they can loom suddenly in the landscape with authority, with an aura larger than their compact physical dimensions, drawing one's immediate and complete attention. Wolverine also have a deserved reputation for resoluteness in the worst winters, for ferocious strength. But neither did these attributes induce the men to embellish.
I listened carefully to these stories, taking pleasure in the sharply observed detail surrounding the dramatic thread of events. The story I remember most vividly was about a man hunting a wolverine from a snow machine in the spring. He followed the animal's tracks for several miles over rolling tundra in a certain valley. Soon he caught sight ahead of a dark spot on the crest of a hill-the wolverine pausing to look back. The hunter was catching up, but each time he came over a rise the wolverine was looking back from the next rise, just out of range. The hunter topped one more rise and met the wolverine bounding toward him. Before he could pull his rifle from its scabbard the wolverine flew across the engine cowl and the windshield, hitting him square in the chest. The hunter scrambled his arms wildly, trying to get the wolverine out of his lap, and fell over as he did so. The wolverine jumped clear as the snow machine rolled over, and fixed the man with a stare. He had not bitten, not even scratched the man. Then the wolverine walked away. The man thought of reaching for the gun, but no, he did not.
The other stories were like this, not so much making a point as evoking something about contact with wild animals that would never be completely understood.
When the stories were over, four or five of us walked out of the home of our host. The surrounding land, in the persistent light of a far northern summer, was still visible for miles-the striated, pitched massifs of the Brooks Range; the shy, willow-lined banks of the John River flowing south from Anaktuvuk Pass; and the flat tundra plain, opening with great affirmation to the north. The landscape seemed alive because of the stories. It was precisely these ocherous tones, this kind of willow, exactly this austerity that had informed the wolverine narratives. I felt exhilaration, and a deeper confirmation of the stories. The mundane tasks which awaited me I anticipated now with pleasure. The stories had renewed in me a sense of the purpose of my life.
This feeling, an inexplicable renewal of enthusiasm after storytelling, is familiar to many people. It does not seem to matter greatly what the subject is, as long as the context is intimate and the story is told for its own sake, not forced to serve merely as the vehicle for an idea. The tone of the story need not be solemn. The darker aspects of life need not be ignored. But I think intimacy is indispensable-a feeling that derives from the listener's trust and a storyteller's certain knowledge of his subject and regard for his audience. This intimacy deepens if the storyteller tempers his authority with humility, or when terms of idiomatic expression, or at least the physical setting for the story, are shared.
I think of two landscapes-one outside the self, the other within. The external landscape is the one we see-not only the line and color of the land and its shading at different times of the day, but also its plants and animals in season, its weather, its geology, the record of its climate and evolution. If you walk up, say, a dry arroyo in the Sonoran Desert you will feel a mounding and rolling of sand and silt beneath your foot that is distinctive. You will anticipate the crumbling of the sedimentary earth in the arroyo bank as your hand reaches out, and in that tangible evidence you will sense a history of water in the region. Perhaps a black-throated sparrow lands in a paloverde bush-the resiliency of the twig under the bird, that precise shade of yellowish-green against the milk-blue sky, the fluttering whir of the arriving sparrow, are what I mean by "the landscape." Draw on the smell of creosote bush, or clack stones together in the dry air. Feel how light is the desiccated dropping of the kangaroo rat. Study an animal track obscured by the wind. These are all elements of the land, and what makes the landscape comprehensible are the relationships between them. One learns a landscape finally not by knowing the name or identity of everything in it, but by perceiving the relationships in it-like that between the sparrow and the twig. The difference between the relationships and the elements is the same as that between written history and a catalog of events.
The second landscape I think of is an interior one, a kind of projection within a person of a part of the exterior landscape. Relationships in the exterior landscape include those that are named and discernible, such as the nitrogen cycle, or a vertical sequence of Ordovician limestone, and others that are uncodified or ineffable, such as winter light falling on a particular kind of granite, or the effect of humidity on the frequency of a blackpoll warbler's burst of song. That these relationships have purpose and order, however inscrutable they may seem to us, is a tenet of evolution. Similarly, the speculations, intuitions, and formal ideas we refer to as "mind" are a set of relationships in the interior landscape with purpose and order; some of these are obvious, many impenetrably subtle. The shape and character of these relationships in a person's thinking, I believe, are deeply influenced by where on this earth one goes, what one touches, the patterns one observes in nature-the intricate history of one's life in the land, even a life in the city, where wind, the chirp of birds, the line of a falling leaf, are known. These thoughts are arranged, further, according to the thread of one's moral, intellectual, and spiritual development. The interior landscape responds to the character and subtlety of an exterior landscape; the shape of the individual mind is affected by land as it is by genes.
In stories like those I heard at Anaktuvuk Pass about wolverine, the relationship between separate elements in the land is set forth clearly. It is put in a simple framework of sequential incidents and apposite detail. If the exterior landscape is limned well, the listener often feels that he has heard something pleasing and authentic-trustworthy. We derive this sense of confidence I think not so much from verifiable truth as from an understanding that lying has played no role in the narrative. The storyteller is obligated to engage the reader with a precise vocabulary, to set forth a coherent and dramatic rendering of incidents-and to be ingenuous.
When one hears a story one takes pleasure in it for different reasons-for the euphony of its phrases, an aspect of the plot, or because one identifies with one of the characters. With certain stories certain individuals may experience a deeper, more profound sense of well-being. This latter phenomenon, in my understanding, rests at the heart of storytelling as an elevated experience among aboriginal peoples. It results from bringing two landscapes together. The exterior landscape is organized according to principles or laws or tendencies beyond human control. It is understood to contain an integrity that is beyond human analysis and unimpeachable. Insofar as the storyteller depicts various subtle and obvious relationships in the exterior landscape accurately in his story, and insofar as he orders them along traditional lines of meaning to create the narrative, the narrative will "ring true." The listener who "takes the story to heart" will feel a pervasive sense of congruence within himself and also with the world.
Among the Navajo and, as far as I know, many other native peoples, the land is thought to exhibit a sacred order. That order is the basis of ritual. The rituals themselves reveal the power in that order. Art, architecture, vocabulary, and costume, as well as ritual, are derived from the perceived natural order of the universe-from observations and meditations on the exterior landscape. An indigenous philosophy-metaphysics, ethics, epistemology, aesthetics, and logic-may also be derived from a people's continuous attentiveness to both the obvious (scientific) and ineffable (artistic) orders of the local landscape. Each individual, further, undertakes to order his interior landscape according to the exterior landscape. To succeed in this means to achieve a balanced state of mental health.
I think of the Navajo for a specific reason. Among the various sung ceremonies of this people-Enemyway, Coyoteway, Red Antway, Uglyway-is one called Beautyway. In the Navajo view, the elements of one's interior life-one's psychological makeup and moral bearing-are subject to a persistent principle of disarray. Beautyway is, in part, a spiritual invocation of the order of the exterior universe, that irreducible, holy complexity that manifests itself as all things changing through time (a Navajo definition of beauty, hózhó<ó´). The purpose of this invocation is to recreate in the individual who is the subject of the Beautyway ceremony that same order, to make the individual again a reflection of the myriad enduring relationships of the landscape.
I believe story functions in a similar way. A story draws on relationships in the exterior landscape and projects them onto the interior landscape. The purpose of storytelling is to achieve harmony between the two landscapes, to use all the elements of story-syntax, mood, figures of speech-in a harmonious way to reproduce the harmony of the land in the individual's interior. Inherent in story is the power to reorder a state of psychological confusion through contact with the pervasive truth of those relationships we call "the land."
These thoughts, of course, are susceptible to interpretation. I am convinced, however, that these observations can be applied to the kind of prose we call nonfiction as well as to traditional narrative forms such as the novel and the short story, and to some poems. Distinctions between fiction and nonfiction are sometimes obscured by arguments over what constitutes "the truth." In the aboriginal literature I am familiar with, the first distinction made among narratives is to separate the authentic from the inauthentic. Myth, which we tend to regard as fictitious or "merely metaphorical," is as authentic, as real, as the story of a wolverine in a man's lap. (A distinction is made, of course, about the elevated nature of myth-and frequently the circumstances of myth-telling are more rigorously prescribed than those for the telling of legends or vernacular stories-but all of these narratives are rooted in the local landscape. To violate that
connection is to call the narrative itself into question.)
The power of narrative to nurture and heal, to repair a spirit in disarray, rests on two things: the skillful invocation of unimpeachable sources and a listener's knowledge that no hypocrisy or subterfuge is involved. This last simple fact is to me one of the most imposing aspects of the Holocene history of man.
We are more accustomed now to thinking of "the truth" as something that can be explicitly stated, rather than as something that can be evoked in a metaphorical way outside science and Occidental culture. Neither can truth be reduced to aphorism or formulas. It is something alive and unpronounceable. Story creates an atmosphere in which it becomes discernible as a pattern. For a storyteller to insist on relationships that do not exist is to lie. Lying is the opposite of story. (I do not mean to confuse ignorance with deception, or to imply that a storyteller can perceive all that is inherent in the land. Every storyteller falls short of a perfect limning of the landscape-perception and language both fail. But to make up something that is not there, something which can never be corroborated in the land, to knowingly set forth a false relationship, is to be lying, no longer telling a story.)
Because of the intricate, complex nature of the land, it is not always possible for a storyteller to grasp what is contained in a story. The intent of the storyteller, then, must be to evoke, honestly, some single aspect of all that the land contains. The storyteller knows that because different individuals grasp the story at different levels, the focus of his regard for truth must be at the primary one-with who was there, what happened, when, where, and why things occurred. The story will then possess similar truth at other levels-the integrity inherent at the primary level of meaning will be conveyed everywhere else. As long as the storyteller carefully describes the order before him, and uses his storytelling skill to heighten and emphasize certain relationships, it is even possible for the story to be more successful than the storyteller himself is able to imagine.
I would like to make a final point about the wolverine stories I heard at Anaktuvuk Pass. I wrote down the details afterward, concentrating especially on aspects of the biology and ecology of the animals. I sent the information on to my friend living with the Cree. When, many months later, I saw him, I asked whether the Cree had enjoyed these insights of the Nunamiut into the nature of the wolverine. What had they said?
"You know," he told me, "how they are. They said, 'That could happen.'"
In these uncomplicated words the Cree declared their own knowledge of the wolverine. They acknowledged that although they themselves had never seen the things the Nunamiut spoke of, they accepted them as accurate observations, because they did not consider story a context for misrepresentation. They also preserved their own dignity by not overstating their confidence in the Nunamiut, a distant and unknown people.
Whenever I think of this courtesy on the part of the Cree I think of the dignity that is ours when we cease to demand the truth and realize that the best we can have of those substantial truths that guide our lives is metaphorical-a story. And the most of it we are likely to discern comes only when we accord one another the respect the Cree showed the Nunamiut. Beyond this-that the interior landscape is a metaphorical representation of the exterior landscape, that the truth reveals itself most fully not in dogma but in the paradox, irony, and contradictions that distinguish compelling narratives-beyond this there are only failures of imagination: reductionism in science; fundamentalism in religion; fascism in politics.
Our national literatures should be important to us insofar as they sustain us with illumination and heal us. They can always do that so long as they are written with respect for both the source and the reader, and with an understanding of why the human heart and the land have been brought together so regularly in human history.From the Trade Paperback edition.
Excerpted from Vintage Lopez by Barry Lopez. Copyright © 2004 by Barry Lopez. Excerpted by permission of Vintage, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.