Farther Away: Essays (2 page)

But then a funny thing happened to me. It's a long story, but basically I fell in love with birds. I did this not without significant resistance, because it's very uncool to be a birdwatcher, because anything that betrays real passion is by definition uncool. But little by little, in spite of myself, I developed this passion, and although one half of a passion is obsession, the other half is love. And so, yes, I kept a meticulous list of the birds I'd seen, and, yes, I went to inordinate lengths to see new species. But, no less important, whenever I looked at a bird, any bird, even a pigeon or a sparrow, I could feel my heart overflow with love. And love, as I've been trying to say today, is where our troubles begin.

Because now, not merely liking nature but loving a specific and vital part of it, I had no choice but to start worrying about the environment again. The news on that front was no better than when I'd decided to quit worrying about it—was considerably worse, in fact—but now those threatened forests and wetlands and oceans weren't just pretty scenes for me to enjoy. They were the home of animals I loved. And here's where a curious paradox emerged. My anger and pain and despair about the planet were only increased by my concern for wild birds, and yet, as I began to get involved in bird conservation and learned more about the many threats that birds face, it became, strangely, easier, not harder, to live with my anger and despair and pain.

How does this happen? I think, for one thing, my love of birds became a portal to an important, less self-centered part of myself that I'd never even known existed. Instead of continuing to drift forward through my life as a global citizen, liking and disliking and withholding my commitment for some later date, I was forced to confront a self that I had to either straight-up accept or flat-out reject. Which is what love will do to a person. Because the fundamental fact about all of us is that we're alive for a while but will die before long. This fact is the real root cause of all our anger and pain and despair. And you can either run from this fact or, by way of love, you can embrace it.

Like I said, the bird thing was very unexpected to me. For most of my life, I hadn't given much thought to animals. And maybe I was unlucky to find my way to birds so relatively late in life, or maybe I was lucky to find my way to them at all. But once you're hit with a love like that, however late or early, it changes your relation to the world. In my case, for example, I'd abandoned doing journalism after a few early experiments, because the world of facts didn't excite me the way the world of fiction did. But after my avian conversion experience had taught me to run toward my pain and anger and despair, rather than away from them, I started taking on a new kind of journalistic assignment. Whatever I most hated, at a particular moment, became the thing I wanted to write about. I went to Washington in the summer of 2003, when the Bush administration was doing things to the country that enraged me. I went to China a few years later, because I was being kept awake at night by my anger about the havoc the Chinese are wreaking on the environment. I went to the Mediterranean to interview the hunters and poachers who were slaughtering migratory songbirds. In each case, when meeting the enemy, I found people whom I really liked—in some cases outright loved. Hilarious, generous, brilliant gay Republican staffers. Fearless, miraculous young Chinese nature lovers. A gun-crazy Italian legislator who had very soft eyes and who quoted the animal-rights advocate Peter Singer to me. In each case, the blanket antipathy that had come so easily to me wasn't so easy anymore.

When you stay in your room and rage or sneer or shrug your shoulders, as I did for many years, the world and its problems are impossibly daunting. But when you go out and put yourself in real relation to real people, or even just real animals, there's a very real danger that you might end up loving some of them. And who knows what might happen to you then?

Thank you.

In the South Pacific Ocean, five hundred miles off the coast of central Chile, is a forbiddingly vertical volcanic island, seven miles long and four miles wide, that is populated by millions of seabirds and thousands of fur seals but is devoid of people, except in the warmer months, when a handful of fishermen come out to catch lobsters. To reach the island, which is officially called Alejandro Selkirk, you fly from Santiago in an eight-seater that makes twice-weekly flights to an island a hundred miles to the east. Then you have to travel in a small open boat from the airstrip to the archipelago's only village, wait around for a ride on one of the launches that occasionally make the twelve-hour outward voyage, and then, often, wait further, sometimes for days, for weather conducive to landing on the rocky shore. In the sixties, Chilean tourism officials renamed the island for Alexander Selkirk, the Scottish seaman whose tale of solitary living in the archipelago was probably the basis for Daniel Defoe's novel
Robinson Crusoe,
but the locals still use its original name, Masafuera: Farther Away.

By the end of last fall, I was in some need of being farther away. I'd been promoting a novel nonstop for four months, advancing through my schedule without volition, feeling more and more like the graphical lozenge on a media player's progress bar. Substantial swaths of my personal history were going dead from within, from my talking about them too often. And every morning the same revving doses of nicotine and caffeine; every evening the same assault on my e-mail queue; every night the same drinking for the same brain-dulling pop of pleasure. At a certain point, having read about Masafuera, I began to imagine running away and being alone there, like Selkirk, in the interior of the island, where nobody lives even seasonally.

I also thought it might be good, while I was there, to reread the book generally considered to be the first English novel.
Robinson Crusoe
was the great early document of radical individualism, the story of an ordinary person's practical and psychic survival in profound isolation. The novelistic enterprise associated with individualism—the search for meaning in realistic narrative—went on to become the culture's dominant literary mode for the next three centuries. Crusoe's voice can be heard in the voice of Jane Eyre, the Underground Man, the Invisible Man, and Sartre's Roquentin. All these stories had once excited me, and there persisted, in the very word
novel,
with its promise of
novelty,
a memory of more youthful experiences so engrossing that I could sit quietly for hours and never think of boredom. Ian Watt, in his classic
The Rise of the Novel,
correlated the eighteenth-century burgeoning of novelistic production with the growing demand for at-home entertainment by women who'd been liberated from traditional household tasks and had too much time on their hands. In a very direct way, according to Watt, the English novel had risen from the ashes of boredom. And boredom was what I was suffering from. The more you pursue distractions, the less effective any particular distraction is, and so I'd had to up various dosages, until, before I knew it, I was checking my e-mail every ten minutes, and my plugs of tobacco were getting ever larger, and my two drinks a night had worsened to four, and I'd achieved such deep mastery of computer solitaire that my goal was no longer to win a game but to win two or more games in a row—a kind of meta-solitaire whose fascination consisted not in playing the cards but in surfing the streaks of wins and losses. My longest winning streak so far was eight.

I made arrangements to hitch a ride to Masafuera on a small boat chartered by some adventurous botanists. Then I indulged in a little orgy of consumerism at REI, where the Crusovian romance abides in the aisles of ultralightweight survival gear and, especially perhaps, in certain emblems of civilization-in-wilderness, like the stainless-steel martini glass with a detachable stem. Besides a new backpack, tent, and knife, I outfitted myself with certain late-model specialty items, such as a plastic plate with a silicone rim that flipped up to form a bowl, ascorbic-acid tablets to neutralize the taste of water sterilized with iodine, a microfiber towel that stowed in a marvelously small pouch, organic vegan freeze-dried chili, and an indestructible spork. I also assembled large stores of nuts, tuna, and protein bars, because I'd been told that if the weather turned bad I could be stranded on Masafuera indefinitely.

On the eve of my departure for Santiago, I visited my friend Karen, the widow of the writer David Foster Wallace. As I was getting ready to leave her house, she asked me, out of the blue, whether I might like to take along some of David's cremation ashes and scatter them on Masafuera. I said I would, and she found an antique wooden matchbox, a tiny book with a sliding drawer, and put some ashes in it, saying that she liked the thought of part of David coming to rest on a remote and uninhabited island. It was only later, after I'd driven away from her house, that I realized that she'd given me the ashes as much for my sake as for hers or David's. She knew, because I had told her, that my current state of flight from myself had begun soon after David's death, two years earlier. At the time, I'd made a decision not to deal with the hideous suicide of someone I'd loved so much but instead to take refuge in anger and work. Now that the work was done, though, it was harder to ignore the circumstance that, arguably, in one interpretation of his suicide, David had died of boredom and in despair about his future novels. The desperate edge to my own recent boredom: might this be related to my having broken a promise to myself? The promise that, after I'd finished my book project, I would allow myself to feel more than fleeting grief and enduring anger at David's death?

And so, on the last morning of January, I arrived in heavy fog at a spot on Masafuera called La Cuchara (The Spoon), three thousand feet above sea level. I had a notebook, binoculars, a paperback copy of
Robinson Crusoe,
the little book containing David's remains, a backpack filled with camping gear, a grotesquely inadequate map of the island, and no alcohol, tobacco, or computer. Apart from the fact that, instead of hiking up on my own, I'd followed a young park ranger and a mule that was carrying my backpack, and that I'd also brought along, at various people's insistence, a two-way radio, a ten-year-old GPS unit, a satellite phone, and several spare batteries, I was entirely isolated and alone.

My first experience of
Robinson Crusoe
was having it read to me by my father. Along with
Les Misérables,
it was the only novel that meant anything to him. From the pleasure he took in reading it to me, it's clear that he identified as deeply with Crusoe as he did with Jean Valjean (which, in his self-taught way, he pronounced “Gene Val Gene”). Like Crusoe, my father felt isolated from other people, was resolutely moderate in his habits, believed in the superiority of Western civilization to the “savagery” of other cultures, saw the natural world as something to be subdued and exploited, and was an inveterate do-it-yourselfer. Self-disciplined survival on a desert island surrounded by cannibals was the perfect romance for him. He was born in a rough town built by his pioneer father and uncles, and he'd grown up working in road-building camps in the boreal swampland. In our basement in St. Louis, he kept an orderly workshop in which he sharpened his tools, repaired his clothes (he was a good seamster), and improvised, out of wood and metal and leather, sturdy solutions to home-maintenance problems. He took my friends and me camping several times a year, organizing our campsite by himself while I ran in the woods with my friends, and making himself a bed out of rough old blankets beside our fiberfill sleeping bags. I think, to some extent, I was an excuse for him to go camping.

My brother Tom, no less a do-it-yourselfer than my father, became a serious backpacker after he went away to college. Because I was trying to emulate Tom in all things, I listened to his stories of ten-day solo treks in Colorado and Wyoming and yearned to be a backpacker myself. My first opportunity came in the summer I turned sixteen, when I persuaded my parents to let me take a summer-school course called “Camping in the West.” My friend Weidman and I joined a busload of teenagers and counselors for two weeks of “study” in the Rockies. I had Tom's obsolescent red Gerry backpack and (for taking notes on my somewhat randomly chosen area of study, lichens) a notebook identical to the one that Tom carried.

On the second day of a trek into the Sawtooth Wilderness, in Idaho, we were all invited to spend twenty-four hours by ourselves. My counselor took me off to a sparse grove of ponderosa pine and left me alone there, and very soon, although the day was bright and unthreatening, I was cowering in my tent. Apparently, all it took for me to become aware of the emptiness of life and the horror of existence was to be deprived of human company for a few hours. I learned, the next day, that Weidman, though eight months older than me, had been so lonely that he hiked back to within sight of the base camp. What enabled me to stick it out—and to feel, moreover, that I could have stayed alone for longer than a day—was writing:

THURSDAY JULY 3

This evening I begin a notebook. If anyone reads this, I trust they will forgive my overuse of “I.”
I
can't stop it.
I
'm writing this.

As I came back to my fire after dinner this afternoon there was a moment when I felt my aluminum cup a friend, sitting on a rock, considering me. . . .

I had a certain fly (at least I think it was the same one) buzz around my head for a goodly long while this afternoon. After a time I stopped thinking of it as an annoying, nasty insect & subconsciously came to think it an enemy that I was really quite fond of and that we were just playing with each other.

Also this afternoon (this was my main activity) I sat out on a point of rock trying to set to words of a sonnet the different purposes of my life that I saw at different times (3—as in points of view). Of course I now see that I can't even do this in prose form so it was really futile. However, as I did this, I became convinced that life was a waste of time, or something like that. I was so sad and screwed up at the time that every thought was of despair. But then I looked at some lichens & wrote a bit about them & calmed down and figured out that my sorrow was due not to a loss of purpose but to the fact that I didn't know who I was or why I was and that I didn't show my love to my parents. I was coming close with my third point, but my next thought was a little off. I figured that the reason for the above was that time (life) is too short. This is, of course, true, but my sorrow wasn't caused by this. All of a sudden it hit me: I missed my family.

Once I'd diagnosed my homesickness, I was able to address it by writing letters. For the rest of the trip, I wrote in my journal every day and found myself moving away from Weidman and gravitating toward my female fellow-campers; I'd never been so successful socially. What had been missing was some halfway secure sense of my own identity, a sense achieved in solitude by putting first-person words on a page.

I was keen, for years afterward, to do more backpacking, but never quite keen enough to make it happen. The self I was discovering through writing turned out not to be identical to Tom's after all. I did hold on to his old Gerry backpack, although it was not a useful general-purpose piece of luggage, and I kept alive my dreams of wilderness by buying cheap nonessential camping gear, such as a jumbo bottle of Dr. Bronner's peppermint soap, which Tom periodically praised the virtues of. When I took a bus back to college for my senior year, I put the Dr. Bronner's in the backpack, and the bottle burst in transit, soaking my clothes and books. When I tried to rinse out the backpack in a dormitory shower, its fabric disintegrated in my hands.

Masafuera, as the boat approached it, was not inviting. My only map of the island was a letter-size printout of a Google Earth image, and I saw right away that I'd optimistically misinterpreted the contour lines on it. What had looked like steep hills were cliffs, and what had looked like gentle slopes were steep hills. A dozen or so lobsterman shacks were huddled at the bottom of a tremendous gorge, to either side of which the island's green shoulders rose thirty-five hundred feet into a cap of broodingly churning cloud. The ocean, which had seemed reasonably calm on the trip out, was beating in big swells against a gap in the rocks below the shacks. To get ashore, the botanists and I jumped down into a lobster boat, which motored to within a hundred yards of shore. There the boatmen hauled up the motor, and we took hold of a rope stretching out to a buoy and pulled ourselves farther in. As we neared the rocks, the boat lurched chaotically from side to side, water flooding into the stern, while the boatmen struggled to attach us to a cable that would drag us in. Onshore were breathtaking quantities of flies—the place's nickname is Fly Island. Competing boom boxes pumped North and South American music through the open doors of several shacks, pushing back against the oppressive immensity of the gorge and the coldly heaving sea. Adding to the stricken atmospherics was a grove of large, dead trees, aged to the color of bone, behind the shacks.