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Gretel Ehrlich Quotes
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We use the word 'wilderness,' but perhaps we mean wildness. Isn't that why I've come here, to seek the wildness in myself and, in so doing, come on the wildness everywhere, because after all, I'm part of nature too.
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Animals give us their constant, unjaded faces and we burden them with our bodies and civilized ordeals.
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Survival is as much a matter of grace as fight. The expression, 'grace under pressure' implies the attainment of equanimity and equilibrium. The fundamental durability of the human body surprises us because the pain can be so intense — yet pain is often transient and hides the tremendous efforts the body is engaged in to heal itself.
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The fog lifted in the evening and a blue-black band at the horizon marked the end of the sea and the beginning of thought. Where does a beginning begin when nothing has gone on before?
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Between highway sounds I heard waves and thought how the curve of the coastline here had sheltered and nurtured live-born sharks, humans, and migrating whales. Here, at the edge of the continent, time and distance stopped; in the lull between sets of waves I could get a fresh start.
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Honesty is stronger medicine than sympathy, which may console but often conceals.
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To rise above treeline is to go above thought, and after, the descent back into bird song, bog orchids, willows, and firs is to sink into the preliterate parts of ourselves.
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It's no wonder human beings are so narcissistic. The way our ears are constructed, we can hear only what is right next to us or else the internal monologue inside.
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As fog moved to the mainland I heard a flock of birds fly over. They sounded like a dress rustling, a dress being unfastened and dropping to the floor. Fog came unpinned like hair. On the beach cliffs, great colonies of datura — jimson weed — with their white trumpet flowers, looked like brass bands.
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If anything is endemic to Wyoming it is wind. This big room of space is swept out daily, leaving a bone yard of fossils, agates, and carcasses in every stage of decay. Though it was water that initially shaped the state, wind is the meticulous gardener, raising dust and pruning the sage.
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I thought: to be tough is to be fragile; to be tender is to be truly fierce.
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How odd it is that sewing is thought to be 'women's work' when surgeons, sailors, and cowboys sew too. Yet how many female thoracic surgeons are there? And if precision motor activities are thought to be performed better by women, why wouldn't they make better surgeons too?
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Am I like the optimist who, while falling ten stories from a building, says at each story, 'I'm all right so far'?
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To trace the history of a river or a raindrop is also to trace the history of the soul, the history of the mind descending and arising in the body. In both, we constantly seek and stumble upon divinity, which like feeding the lake, and the spring becoming a waterfall, feeds, spills, falls, and feeds itself all over again.
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We are often like rivers: careless and forceful, timid and dangerous, lucid and muddied, eddying, gleaming, still. Lovers, farmers, and artists have one thing in common, at least — a fear of 'dry spells,' dormant periods in which we do no blooming, internal droughts only the waters of imagination and psychic release can civilize.
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Finally, the lessons of impermanence taught me this: loss constitutes an odd kind of fullness; despair empties out into an unquenchable appetite for life.
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We forget that our sun is only a star destined to someday burn out. The time scale of its transience so far exceeds our human one that our unconditional dependence on its life-giving properties feels oddly like an indiscretion we'd rather forget.
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To know something, then, we must be scrubbed raw, the fasting heart exposed.
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I like to think of landscape not as a fixed place but as a path that is unwinding before my eyes, under my feet. To see and know a place is a contemplative act. It means emptying our minds and letting what is there, in all its multiplicity and endless variety, come in.
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The retreat and disappearance of glaciers—there are only 160,000 left—means we're burning libraries and damaging the planet, possibly beyond repair. Bit by bit, glacier by glacier, rib by rib, we're living the Fall.
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A tree is a thought, an obstruction stopping the flow of wind and light, trapping water, housing insects, birds, and animals, and breathing in and out. How treelike the human, how human the tree.
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The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly; light would elucidate the most difficult truths; wind would sweep away obtuse padding.
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True solace is finding none, which is to say, it is everywhere.
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Autumn teaches us that fruition is also death; that ripeness is a form of decay. The willows, having stood for so long near water, begin to rust. Leaves are verbs that conjugate the seasons.
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We Americans are great on fillers, as if what we have, what we are, is not enough.... We have only to look at the houses we build to see how we build against space, the way we drink against pain and loneliness. We fill up space as if it were a pie shell, with things whose opacity further obstructs our ability to see what is already there.
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Fog rolled in like a form of sorrow. To live exiled from a place you have known intimately is to experience sensory deprivation. A wide-awake coma.... The sea was a memory bank into which everything fell and was lost. I dove in but came out empty-handed.
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There is nothing in nature that can't be taken as a sign of both mortality and invigoration.
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Everything in nature invites us constantly to be what we are.
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History is an illogical record. It hinges on nothing. It is a story that changes and has accidents and recovers with scars.
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Turbulence, like many forms of trouble, cannot always be seen. We bounce so hard my arms sail helplessly above my head. In evolution, wing bones became arms and hands; perhaps I'm de-evolving.
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Quote of the day
The Constitution was the expression not only of a political faith, but also of political fears. It was wrought both as the organ of the national interest and as the bulwark of certain individual and local rights.
Herbert Croly
Gretel Ehrlich
Born:
January 21, 1946
(age 79)
Bio:
Gretel Ehrlich is an American travel writer, poet, and essayist.
Known for:
The Solace of Open Spaces (1985)
This Cold Heaven (2001)
A Match to the Heart (1994)
Islands, the universe, home (1991)
Most used words:
thought
human
history
wind
fog
body
land
nature
life
animals
waves
pain
season
wildness
surgeons
Gretel Ehrlich on Wikipedia
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