Quotes from Annie Dillard

there is another kind of seeing that involves a letting go. When I see this way I sway transfixed and emptied. The difference between the two ways of seeing is the difference between walking with and without a camera. When I walk with a camera I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut.

In the cool of the evening I take to the bridges over the creek. I am prying into secrets again, and taking my chances. I might see anything happen; I might see nothing but light on the water. I walk home exhilarated or becalmed, but always changed, alive. "It scatters and gathers," Heraclitus said, "it comes and goes." And I want to be in the way of its passage and cooled by its invisible breath.

a closed book on a shelf continues to whisper to itself its own inexhaustible tale.

I crossed Homewood and ran up the block. The joy multiplied as I ran--I ran never actually quite leaving the ground--and multiplied still as I felt my stride begin to fumble and my knees begin to quiver and stall. The joy multiplied even as I slowed bumping to a walk. I was all but splitting, all but shooting sparks. Blood coursed freely inside my lungs and bones, a light-shot stream like air. I couldn't feel the pavement at all.

A nightmare network of ganglia, charged and firing without my knowledge, cuts and splices what I do see, editing it for my brain. Donald E. Carr points out that the sense impressions of one-celled animals are not edited for the brain: "This is philosophically interesting in a rather mournful way, since it means that only the simplest animals perceive the universe as it is.

The mountains—Tinker and Brushy, McAfee's Knob and Dead Man—are a passive mystery, the oldest of all. Theirs is the one simple mystery of creation from nothing, of matter itself, anything at all, the given. Mountains are giant, restful, absorbent. You can heave your spirit into a mountain and the mountain will keep it, folded, and not throw it back as some creeks will. The creeks are the world with all its stimulus and beauty; I live there. But the mountains are home.

Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water.

There is something you find interesting, for a reason hard to explain. It is hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment.

The question was not death; living things die. It was love. Not that we died, but that we cared wildly, then deeply, for one person out of billions. We bound ourselves to the fickle, changing, and dying as if they were rock.

Usually it is a bit of a trick to keep your knowledge from blinding you.

Under my spine, the sycamore roots suck watery salts. Root tips thrust and squirm between particles of soil, probing minutely; from their roving, burgeoning tissues spring infinitesimal root hairs, transparent and hollow, which affix themselves to specks of grit and sip. These runnels run silent and deep; the whole earth trembles, rent and fissured, hurled and drained. I wonder what happens to root systems when trees die. Do those spread blind networks starve, starve in the midst

Could tiny birds be sifting through me right now, birds winging through the gaps between my cells, touching nothing, but quickening in my tissues, fleet?

No claims of any and all revelations could be so far-fetched as a single giraffe.

They have not been persecuted, and show no fear of man. You pass among them as though you were wind, spindrift, sunlight, leaves.

All those things for which we have no words are lost.

Like any fine artist, he controlled the tension of the audience's longing. You desired, unwittingly, a certain kind of roll or climb, or a return to a certain portion of the air, and he fulfilled your hope slantingly, like a poet, or evaded it until you thought you would burst, and then fulfilled it surprisingly, so you gasped and cried out.

She read books as one would breathe air, to fill up and live.

I have seen those faces, when the day is cloudy, and I have seen at sunset on a clear winter day houses, ordinary houses, whose bricks were coals and windows aflame

She reads ?books as ?one would breathe air ?to fill up and live

The Polyphemus moth never made it to the past; it crawls in that crowded, pellucid pool at the lip of the great waterfall. It is as present as this blue desk and brazen lamp, as this blackened window before me.

The world has locusts, and the world has grasshoppers. I was up to my knees in the world

Is this what it's like, I thought then, and think now: a little blood here, a chomp there, and still we live, trampling the grass? Must everything whole be nibbled? Here was a new light on the intricate texture of things in the world, the actual plot of the present moment in time after the fall: the ways we living are nibbled and nibbling- not held aloft on a cloud in the air but bumbling pitted and scarred and broken through a frayed and beautiful land.

Sounds fell all about me; I vibrated like still water ruffled by wind. Cicadas were out in full force...I had heard them begin at twilight and was struck with the way they actually do start up, like an out of practice orchestra, creaking and grinding and all out of synch. The frogs added their unlocatable notes, which always seem to me to be so arbitrary and anarchistic, and crickets piped in, calling their own tune which they have been calling since the time of Pliny..

The young man proudly names his scars for his lover; the old man alone before a mirror erases his scars with his eyes and sees himself whole