I recently finished reading Kristen Iversen’s book, Full Body Burden, and —even as a person familiar with the toxic secrets of government and industry— found the details of the Rocky Flats environmental legacy to be shocking.  Shocking, perhaps, because Iversen’s details are delivered so personally: her seemingly perfect hometown with room for children and horses to run and explore tainted by the invisible emissions of a secret nuclear weapons plant, rumors of covered-up contamination, and the cancer clusters to fuel them.  Woven into Iversen’s account of Rocky Flats is her own parallel tale of family erosion from her father’s alcoholism, shrouded in the stoicism of the family’s Norwegian heritage.  The dual narratives are powerful, delivering with unrelenting honesty the anxiety of knowing something deeply unsettling about your home, yet lacking the will or means to leave.

I do not personally know Kristen Iversen, but years ago, I worked with her sister, Karma, at the New Mexico Environment Department.  Our department was responsible for issuing wastewater discharge permits for all types of facilities: municipal wastewater treatment plants, dairies and food processing facilities, mining operations and other industrial facilities, including, among others, Los Alamos National Labs (LANL).

Neither Karma nor I oversaw any permits for LANL — she was a soil scientist who specialized in agricultural wastewater permits, and I was fresh out of graduate school, just getting my feet wet with permitting municipal and small-scale industrial wastewater discharges.  But I can recall the frustration of our more-senior colleagues who did manage permits for the Federal facilities, the secrecy shrouding activities at LANL and Sandia National Labs.  And I can remember talking with Karma about the rumors that floated around those sites: elevated rates of thyroid cancers, stories about dogs developing cancerous growths on their paws from their frolics in the adjacent canyons.

As a new State government employee, I was careful not to be blindly swayed by the hysteria of misguided risk perception.  There were always people with “too much time on their hands,” quick to bundle anecdotal tidbits with partial information to formulate wildly speculative conclusions about the dangers of site X or the devious intentions of company Y.  But after a few years of seasoning and a broadened portfolio of sites, I began to understand the paranoia.  I can recall thinking of more than a few of my sites that I could never live near there.  I could never live with the anxiety.  You know what they say about the restaurant business — once you know what goes on in the kitchen, you’ll be reluctant to eat out again.

My foray into the history of Rocky Flats via Iversen’s Full Body Burden prompted me to revisit Ellen Meloy’s The Last Cheater’s Waltz and her anxiety of place.In The Last Cheater’s Waltz, Meloy is wrought with the guilt and paranoia of inhabiting and loving a place as beautiful as the redrock canyon country of southeastern Utah, and knowing its role in the widespread violence of nuclear weapons development and testing in the American Southwest.  Like a betrayed lover, Meloy traces the path of uranium mined from her Moab-area home to the weapons development facility in Los Alamos and the Trinity nuclear weapons test site in New Mexico, seeking some kind of — what?  Understanding? Redemption for choosing to live there despite its tainted past?

Meloy’s journey is an attempted exorcism of the anxiety of place — a theme most intriguing to those of us with academic inclinations, but imagine what that must feel like in the first person.  Imagine what it feels like to live in a place, or be from somewhere where you have a high probability of developing some condition, some malaise, just because you call that place home.  Love Canal.  Rocky Flats.  Fukashima.  Or imagine what it must be like to love a landscape with a hidden history as as cursed with death as  Hiroshima and Nagasaki.  These are no ordinary betrayals.  To most of us, these are abstract places, places to consider in the large-scale debate about environmental degradation.  But to some of us, these places are home.

The post The Anxiety of Place appeared first on Mary Heather Noble.

Williams’ account is carefully braided, the rise of the Great Salt Lake and its threat to the bird refuge skillfully juxtaposed against the rise of a deadly cancerous tumor in her mother’s abdomen.  With each rising lake interval, Williams parallels her mother’s peril with that of every species threatened by the flood.  This metaphor is carried throughout the book, as she weaves fragmented strands of the two narratives together to contemplate natural cycles, the inevitability of death, and the unnatural systems our culture employs to prevent them both.  We experience first hand the anxiety and heartbreak of every threatened bird, every stage of her mother’s disease, and are left with the intimate knowledge of mourning the loss of wildlife and place intertwined with the loss of one’s mother.  Williams’ emotional journey illustrates both our reluctance to accept even the most natural of changes, and the lengths to which we go to resist them.

Refuge is a lyric work, a contemporary form published nearly a decade before the lyric essay’s widespread recognition.  And perhaps that’s what made it so successful — it was prose poetry before its time, structured in a way that enabled history, biology, and geography to enhance a personal narrative.  This literary craft blog post explores how Williams skillfully transitions from one story strand to another, using white space, common words, images, and ideas as points of contact for effectively weaving one section into another.

Williams introduces the metaphor between the flooding of the bird refuge and her mother’s death from cancer in the Prologue of the book:

Most of the women in my family are dead.  Cancer. At thirty-four, I became the matriarch of my family.  The losses I encountered at the Bear River Migratory Bird Refuge as Great Salt Lake was rising helped me to face the losses within my family.  When most people had given up on the Refuge, saying the birds were gone, I was drawn further into its essence.  In the same way that when someone is dying many retreat, I chose to stay. (p. 4)

The early establishment of this metaphor provides the well from which Williams will draw to nourish the connective tissue binding her scientific and observation-based sections on the bird refuge and the Great Salt Lake with her more candid personal reflections on family, illness, and death.  For instance, in her second chapter, after having introduced the reader to the Great Salt Lake and the connection that she and the lake have to the refuge, Williams is able to seamlessly transition into the discovery of her mother’s illness:

… The long-legged birds with their eyes focused down transform a seemingly sterile world into a fecund one.  It is here in the marshes that I seal my relationship to Great Salt Lake.

I could never have anticipated its rise.

My mother was aware of a rise on the left side of her abdomen.  I was deep in dream.  This particular episode found me hiding beneath my grandmother’s bed as eight black helicopters flew toward the house.  I knew we were in danger. (p. 22)

Here, Williams employs white space and the word rise as the thread that connects these two fragments together — fragments that might otherwise seem disjointed, were it not for her prior establishment of the symbolic relationship between the two.

Williams uses the same technique later in the book to transition from her personal narrative to a section that discusses the history of Mormon religion and its connection to the land.  In this instance, Williams describes a scene in which her family learns that surgery and chemotherapy have failed to eliminate cancer from her mother’s body.  Her mother, originally opposed to undergoing treatment, unleashes anger at Williams and Williams’ father, saying, “I could have handled this, why couldn’t you?”  Williams is heartbroken, crippled with guilt:

… We had wanted a cure for Mother for ourselves, so we could get one with our lives.  What we had forgotten was that she was living hers.

I fled for Bear River, for the birds, wishing someone would rescue me.

The California gulls rescued the Mormons in 1848 from losing their crops to crickets.  The gull has become folklore.  It is a story we know well… (p. 68-9)

Again, the insertion of a little white space, coupled with the use of a common word between the sections (in this case, rescue), enables Williams to gently pivot from an emotionally charged family scene to a relevant historical anecdote about one of the refuge’s resident birds.  The effect is not only an effective transition from one narrative to another; it is a mechanism for the slowing of pace, and the relief of tension in the prose itself.

Williams utilizes white space well in Refuge, the vacancy of words allowing the reader to draw the connections between her fragments for him or herself.  We recognize it as a pattern, the more difficult the circumstances become, the more white space we see.  Toward the middle and end of the book, as the stakes for the refuge rise, along with the tension in her family, Williams’ prose become more fragmented.  The white space increases, and the connective tissue between sections is grounded in images and ideas:

Mother.  She is preoccupied.  Yesterday, on the telephone, she said she didn’t think she could make the family backpacking trip in the Tetons scheduled for summer.

“I think I may have pulled some muscles in my stomach,” she said.

I want to believe her.

It rains and rains.  Great Salt Lake continues to rise.

Eudora Welty, when asked what causes she would support, replied, “Peace, education, conservation, and quiet.”

Mother, Mimi and Jack, and I are seeking quiet in St. George, Utah. (p. 133-4)

As disjointed as these fragments seem, the reader easily follows the prose.  The white spaces, the symbolic rain and rising lake, the need for quiet all paint a larger picture: Williams’ mother is dying, and there is nothing that they can do.  The conclusion, though not spelled out, is easily understood.

In Refuge, Terry Tempest Williams has masterfully illustrated the potential of the fragmented approach, the importance of finessing transitions, and the beauty of lyric prose.  Her use of white space, common words between sections, and relevant images are an effective mechanism for manipulating pace, conveying emotion, relieving tension, and solidifying theme in the body of her prose.

The post Terry Tempest Williams’ Refuge: A Lesson in Braided Form appeared first on Mary Heather Noble.