The Whale Collection
May 5, 2008 § Leave a comment
Just finished: The Wet Collection.
Do yourself a favor and find this book. Many of us are brainwashed into thinking that small- or independent-press collections must be twee or regional or otherwise lesser, in one important way or another. ‘Tain’t always so, or even often so. This book is proof. It’s damn good.
Of course, this book happens to scratch one of my major itches. Tevis and I share a deep fondness for Melville. There’s only one overt reference to him here, but the book is (dare I say) Melvillean, in his Mardi and Moby-Dick style: digressive, allusive, concerned equally with the outer world of natural history, human history, religion, and the inner world of relationship, psychology, religion again, making the time to make important points you don’t quite notice until you’ve made a connection dozens of pages later. (Another alternate title for M-D: The Whale Collection.)
“Barefoot in a Borrowed Corset” is one of my favorites. It involves footnotes, in a good way. It pulls together stories about spelunking, Da Vinci, the Eucharist, the Old Testament leper Naaman, Crater Lake, and an underwater town in South Carolina. (The interplay of the very dry — the Last Supper fresco, leprous skin — and the very wet — bathing in deep lakes, watery towns — runs through the whole collection, and is used to great effect here.) But then there’s the footnotes, used here in an almost DFWian way, to create another layer of narrative, largely about the author, and about the construction of the story.
That story is largely one of armchair adventuring, the vicarious and allusive life most of us live. The first footnote, after the section-title “Spelunking”: “After reading, in a borrowed house, a stranger’s National Geographic.” And then the experience of spelunking is compared to insomnia, awake in a dark house, coming to grips with living with another person. Reference is later made to a “cave tour.” And later, there’s an extremely tangential reference to FDR, obviously one of the author’s personal heroes. His Civilian Conservation Corps recurs throughout this book: blazing trails, building cabins, creating parks and dams and roads. I suspect many nature books would heap scorn on this kind of work, cleaning and distancing and colonizing nature. Tevis seems to consider it one of the great projects of the twentieth century, and genuinely appreciates the vantage points the work of those Depressed workers has given her on the land, the country, the world.
This would all make Mr. Melville smile, I think, the mixture here of lived experience and mediated experience and experience of others’ experience. Oh, he sailed the seas, but then he cribbed so much of what inspired him from the books he voyaged in, as well, and from other adventurers’ stories. He took what he needed and was concerned with the deeper truth he saw in it, not primarily its supposed “authenticity.”
Anyway, this is a dangerous strategy: are you mythologizing or aggrandizing mundane life? Are you making specious, superficial, fragmented demands on decontextualized narratives? Are you, most important, boring me with your life? I think this story (and this book) avoids those pitfalls. So much here is about orientation: the self on the earth, the individual to the history, the human in nature. The wanderer to home. Way back when, we learned that the author wanted to “live a biblical life” (note that lower-case b) and a “prophetic life in conjunction with another.” Religion is very important throughout; the simmering Christianity of the South is all over this book, the relationship of earth to deity; but God does not seem nearly as important to Tevis as his cast of characters, and the lyrical words his prophets were inspired to write.
Bedrock concerns, all. The balance in the prose and the narrative between the colloquial and the heightened (pseudo-biblical) seems right, here. I don’t know: it’s silly to parse these things, sometimes. We’re talking art here. It works or it doesn’t. Here it works.