Chapter 11: Extremophiles

The final chapter, bookend to the opening one, “Letters from the Karst,” is the mother Meredith’s story. I think everyone comes together here, whether from the past when the girls were young or in Meredith’s journals about loss or in the current day, when all three horses make their reappearance. And Meredith is a caver, her cave needed to be big. I could have picked Mammoth Cave, but I needed something unfamiliar for Meredith to explore. That’s why I picked Lechuguilla at Carlsbad Caverns.

Since I am reading Dachner Keltner’s Awe: The New Science of Everyday Wonder at the same time I’m re-thinking Letters from the Karst, it’s probably no surprise that Meredith’s trip to Lechuguilla came to mind. I first learned of Keltner’s book when listening to Krista Tippett’s On Being, where she interviews him about his latest book. (If you don’t know On Being, it is the best podcast out there!) Here’s a link to her interview with Keltner, “The Thrilling New Science of Awe.”

Keltner writes,

Vastness can be challenging, unsettling, destabilizing. In evoking awe, it reveals that our current knowledge is not up to the task of making sense of what we have encountered. And so, in awe, we go in search of new forms of understanding.

This is precisely what happens to Meredith on her caving expedition. Due to a minor rockslide she is left dangling for longer than is comfortable. Although experienced and perhaps due to her being on the cusp of a change in her life preoccupations, no longer writing about the loss of her husband David and instead reflecting on place, Meredith is ready for an epiphany.

This cave was a great ear, and I could feel it pressing itself against my skin. I was terrified of plummeting hundreds of feet with a thin rope and a hand brake all that kept me from a fall that could be as easily up as down, so suspended space had become.In perfect darkness I waited, suspended in the great throat of the cave. My line turned me slowly and now I heard it. A breath, a low sigh, a loneliness so deep that it had lost the awareness of self that loneliness usually heightens. I reached my hand out and the sigh rose. My lips opened, and the sigh shot up from the depths.

Later, she realizes:

I had gone to see a different cave formation than the ones I grew up with in Kentucky. I wanted to step outside of what had become home. I have been there three times now and co-written two papers trying to help untangle the mysteries that fascinate us. It happened in the midst of writing that second paper, the sudden certainty that I was telling only half the story—the surface of life beneath the surface—and so I began writing travel pieces for non-academic magazines, essays about life in all its extremities.

Although I didn’t realize it at the time, what I was describing for Meredith is the experience of awe, which according to Keltner, “is the feeling of being in the presence of something vast that transcends your current understanding of the world” (7). Maybe “epiphany” should be the subtitle for Letters from the Karst. The characters all wake up from some depth of slumber, so their epiphanies may be mild, more like a twitch, or signficant, marking a radical new path. Perhaps this is also what happens when we experience “wonder.”

Public domain

Today’s post is quite a “quote-y” post, but I love the serendipity when what we’re reading, writing, or thinking about come together, and Keltner and Meredith belong together (with me).

You can order a copy of Letters from the Karst from your local bookstore or at Amazon, here.

Chapter 6: Achers Pond

Two things I like to share about “Achers Pond”: the narration and the brother-sister friendship.

It was around 1939 that Sarah Lynn Collins’ father was overseeing the building of the “damn” Kentucky dam, as he called it. Here’s a photo in the public domain of the men who build the Kentucky dam. I imagine Sarah’s father in there somewhere.

Men who built the Kentucky dam and url: https://upload.wikimedia.org/wikipedia/commons/thumb/c/c6/Caldwell%27s_Carpenter_Crew_At_Shop.jpg/2880px-Caldwell%27s_Carpenter_Crew_At_Shop.jpg

Sarah is the grandmother in the current time of Letters from the Karst, but she was 14 then. She lives with her mother and father (though he is often away) and her older brother Daniel, whose life is fragile due to a bout of polio. The two are the dearest of friends, despite their differences in ability, both physically and intellectually.

Sarah has a painful story to tell in “Achers Pond” (the name of the pond in their back yard, “Acher” for the former owners, though there is definitely a big ache in this story). I tried several different narrative methods—third person, first person chronological—and finally settled on Sarah’s telling her story to her mother, but only in her head. She begins, “You are so impatient! Yesterday, you kept snatching at a strand of hair that had escaped your barrette, and while I helped you get Daniel settled in the kitchen, your mouth was all tucked in.” Later, when her mother asks her to explain what had happened, she says,

I turned toward the cool, rocky air again. What good would telling do? No! I didn’t want you to know the way time disappeared, until something woke me up with a little pinch, and there I was, in school, next to Daniel, at the dinner table. It said, This is who you are. Tell that to you? No!

In my mind, I reached into the space where the cool air met the rising stink of mud and fanned it toward myself. Was there a way to tell and to not make you mad? What part could I leave out without you pulling it out of me? I kept my head resting on the side of the canoe so you would think I was sleeping and wouldn’t guess I was finally telling you, just in my head.

In this way, Sarah can both tell and not tell, which is important to her due to the shame she feels. As important as knowing that her parents love her despite what has happened, even more perhaps is having her brother nearby. Although he was born developmentally slow, he has a wisdom and tenderness, especially for his little sister Sarah, whom he feels responsible for, in part because he saved her life by fetching the midwife in the middle of a snowstorm when their mother was in labor. She is his and he is hers.

One scene shows this. It turns out that painting fire hydrants was a job for kids during the New Deal. And it turns out that this is something a few friends and I did one summer in Bowling Green, Ohio, and somewhat famously I painted the Greek letters for LSD as a belt buckle for one of them. Nothing like that happened for Daniel and Sarah, but when one of the other kids calls Daniel stupid, she reminds Daniel:

“So, I picked up my red paintbrush and flung paint at him. That got the other boys laughing, till Conroy came after me and tried to punch me. You maybe couldn’t run fast but you could punch like the dickens. You took the air right out of that Dumb Cluck.

“Now here’s the best part. I got up on your shoulders with a red paintbrush in one hand and a yellow in the other and we marched all the way back to Uncle Joe’s, singing ‘John Jacob Jingle Heimer Smith’ at the top of our voices and me waving my paintbrushes like flags.

“And those other kids was marching behind us. What a racket.”

Given the betrayal that also occurs in “Achers Pond,” the way these two stand by each other is a saving grace.

Here’s a public domain image of a sink hole, very common in Kentucky. . . The one that occurs beneath Achers Pond is much bigger:

You can purchase Letters from the Karst at your local bookstore of from amazon, here.