I’m on a bit of a Rebecca Solnit tear right now. I recently gave my reading notes for The Faraway Nearby, and I’m currently reading Wanderlust: A History of Walking. In between, I picked up A Field Guide to Getting Lost. It’s brilliant, of course. And it’s got that perfect Solnit touch that walks the line between universal and individual, abstract and personal.
But there is one weird section I’ve been struggling with. Every couple of days I think back to how irritated I was when I read it and then I try on different reasons to explain why it bothered me so much. I think I’ve got it. And as I am a big believer that significant lessons may be learned by parsing out one’s own irritations, I wanted to jot it down here.
What follows turns out to be an examination of what intellectual probing (in the particular way of the essayist) may or may not offer the writing of fiction, based on a moment in the book when Solnit offers a somewhat detailed plot treatment of an imaginary novel.
The premise of the book is that there are many ways to get lost. Geographically, mentally, spiritually, etc. It’s also a book about distance: where you are vs. where you’ve been or where you’re going. So, in line with both themes, she begins the essay “Two Arrowheads” with this totally killer passage:
“Once I loved a man who was a lot like the desert, and before that I loved the desert. It wasn’t particular things but the space between them, that abundance of absence, that is the desert’s invitation.”
The beginning of the chapter is a dreamy stream-of-consciousness meditation upon that love (her love of the desert and its “hermit”) and love’s narrative path in general. There are animals, and many changes of color, and when you set that quiet circus into the stark desert setting you get something that seems like a bunch of Chagall surrounded by Georgia O’Keeffe. It’s odd. But fine.