The History of Skagit Dams - Seeing Things Anew

I’ve driven Washington’s Highway 20, the North Cascades Highway, for years. I used live in Rockport right along the highway, and I used to work for the national park that straddles the highway, and for one interminable summer when Laurie worked on the east side of the crest and I worked on the west, I commuted over the highway. I’ve been wowed by the mountains and soothed by the rivers, sure, sure. I’ve hiked from trailheads and watched wildlife and even taught writing at North Cascades Institute’s Environmental Learning Center on Diablo Lake. It was there, at the Learning Center, that I first thought seriously about the dams.

To reach the Learning Center you drive right across Diablo Dam. Overhead the power lines buzz. But when writers sat down to describe their surroundings, they usually wrote about birds or fish or trees or clouds. Never the dams. I was as guilty as anyone. The three dams that line the Skagit River – Gorge, Diablo, and Ross – are all more or less visible from the highway, but, in writing as in life, I’d mostly ignored them. Why? I knew the answer: because we nature-loving types have a kneejerk reaction against anything human-made. While we’re in the woods, we want to see the woods. But part of why people come to the Learning Center is to learn about things they know little about, to appreciate them anew. For me, I realized, that meant the dams.

So I was delighted this spring to see that my old friend Jesse Kennedy would teach a class at the Learning Center on the History of the Skagit Dams. Jesse can bring enthusiasm to any subject (you’d have to attend one of his defensive driving classes to believe me) and in this case, the subject could not have been more perfectly suited to him. Dr. Kennedy, who studied both ophthalmology and diesel mechanics extensively before migrating into cultural resources, described dam construction with an engineer’s precision and told the story of J.D. Ross and his battle to bring public power to Seattle with a historian’s heart. Turns out it’s a wild story with several wild subplots. Ross single-handedly fought off proponents of privatization and brought the dams in on schedule and under budget to provide more people in Seattle with more power sooner than in other American cities. Ross was also a renowned expert on lilies and tea plants, who borrowed monkeys and albino deer from Woodland Park Zoo to place on islands in Diablo Lake. The animals – along with a colorful light show and a hearty chicken meal and a ride up the dramatic cable incline used in dam construction – served as attractions for generations of city folks Ross wooed upriver for inexpensive tours from the Depression through the 1960s. When he died, Franklin Roosevelt offered space in Arlington National Cemetery, but Ross had specified that he’d prefer to lie for eternity along Highway 20 in Newhalem. A plaque at the site quotes Roosevelt who heralded Ross as one of “the greatest Americans of our time,” which is particularly impressive considering that Ross was Canadian.

When at last we visited the dams, we saw a rare sight. The dams, overfull from late snow in the high country, were spilling. The spill would be dramatic in any case – all that water, all that power – but when Jesse turned our attention to the construction, the graceful concrete arc to keep the force of the water from shaking the dam to the ground, my heart swelled the same way it does to see the larches on Liberty Bell backlit in fall. Pure beauty. And this, I realized, was why I’d come. Sometimes it takes a little knowledge to nudge you out of your ideological safety zone, a few good stories, to make you see things anew, to make you think.

These days, I’m thinking a whole lot about reclamation. More on that soon.

Rust Fish

Each day before I begin to write, I try to read something, anything, that inspires me. Lately, I’ve been turning more and more often to poetry, and most recently it’s been Maya Jewell Zeller’s terrific first collection, Rust Fish. I heard her read from the collection at Burning Word festival in Leavenworth, Washington in May, and ever since then, I’ve been hooked. I want to say entranced, but it’s nothing that otherworldly or dark. Mostly, I’ve been charmed.

Rust Fish is a coming-of-age collection, more or less, and part of what Zeller does so well is conjure childhood without a hint of romanticism or regret or even ruefulness. There’s real childhood friendship (“The World at Eleven”) and real childhood meanness (“Revenge” “Serape”). There’s the chalky mouthful of powdered milk I remember so well, and there’s a sweet lullaby sung to a beloved stuffed snake, despised by her mother. Then there’s G.I. Joe come to life (my favorite line in the book: “GI Joe loved lambsweed with warm government cheese”) then GI receiving the mutilation treatment we’ve so often seen Barbie endure (“Sibling Rivalry”).

Through it all, the natural world – a distinctly Pacific Northwest version – weaves into and out of the poems the way, on the west slope of the Cascades, blackberry vines choke rotting barns. There’s skunk cabbage and balsam root and thistle, cedar and salmon and smelt, and lest you think things might stray into too-pretty description or green forest cliché, there’s the flood strewn bloated cow carcass thrown in for good measure.

Zeller’s voice is straightforward and plainly feminist (remember the treatment GI Joe got?) and unyielding without turning belligerent. She doesn’t so much confront class issues as inhabit them. Her parents owned both a tavern and a tow truck. In the last section, her poem “For a Student Come Back from the Quiet Beyond” culminates in a wrenching set of lines: “She is the student who made me cry the most./ She loves her job at a dry-cleaner’s/ where the chemicals give her hives/but her boss says she’s the best employee he’s ever had.”

Of all the aspects of Zeller’s poetry that I admire, her humility stands out the most. She’s as eager to point out irony as anyone – the new Jack in the Box on the road to Olympic National Park, say – but when she does it, with all her earnest understated passion, guess who’s in the drive thru line?

If you’re looking for inspiration, pick up Rust Fish.

On Mortenson, memoir, victims, whiners, and the sometimes sickening truth

The undeserving casualties of the recent fracas over Greg Mortenson’s exaggerations in his bestselling memoirs are many: the people that donated money to his schools in Afghanistan and the schools themselves – guaranteed now to be shorter on funds than before – and the girls who attend them. Then there are readers, even the non-donators, and attendees of Mortenson’s speaking engagements who believed a story and now feel duped. But not least among them are memoirists everywhere who have taken yet another blow to their credibility.

Credibility that has long been suspect. The root of the accusations is familiar: how can any writer remember all the details? Memoirists, the naysayers point out, compress time and make-up dialogue and details. True enough. But most readers are cool with that. The truth is, often enough, the eye-rolling exasperation has less to do with how the story is told – how true exactly – than with what kind of story it is. Memoir is the genre of victimization, say the eye-rollers. The realm of whiners.

I should know. I taught memoir writing online for several years to hundreds of writers – new writers, experienced writers, rich writers and poor, good writers and bad, women and, occasionally, men – and among the shocks I had to face was exactly how widespread childhood trauma, especially family trauma, is. Not verbal abuse, but horrid physical and sexual abuse. I recoiled. I didn’t want to read it, not once and certainly not dozens of times a day, but I was awed and humbled by the guts it took for writers to relive the trauma, and it did not take me long to realize that these stories must be told. The sheer number of them makes them impossible to ignore. Victimization is not an attitude that’s gone viral. It’s a reality that’s been shoved under the carpet. Because we want it there. We want to change the subject.

Oddly enough, it’s rarely the (mostly female) victims of horrific crimes who exaggerate or lie in memoir – I’ve never heard of a documented case – but the (mostly male) perpetrators of minor ones. James Frey lied about his the extent of his drug dealing. Ditto Malcolm X according to a new biography. Greg Mortenson apparently not only exaggerated his commitment to the village schools, but also the extent of his trespass into enemy territory and his subsequent kidnapping. Let’s face it: bad guy dramas, packed with danger and daring, tend toward excess. Whether and how to punish or prevent such excess is, I suppose, a discussion worth having.

But let’s not change the subject.

Let’s not allow courageous writers who were once victims become victims (again) by letting “Did this really happen?” morph into “Are these stories really worth telling (again)?” They are. And the most important ones may not be packed with misdeeds-turned-bravado – the street thug turned civil rights hero, the climber turned philanthropist – but with pathos and cold hard, sometimes sickening, truth.

Tribute Essay in High Country News

This week I have an essay in High Country News titled "The Sign Maker" honoring Phil Garfoot, who died almost exactly a year ago. I was lucky enough to have a couple of fine Barnhart photos of Phil's signs accommany the essay, but I thought it'd be fun to include several more. Unfortunately the snow still hangs in the high country so these shots don't include many fine trail junction signs, but they give a sense of how ubiquitous and fitting they are here in Stehekin.

http://www.hcn.org/issues/43.6/the-sign-maker

Teaching, Writing, Publishing

So the three are supposed to be in eternal conflict, I realize. How much time do I spending writing (duh - as much as I can), trying to publish (crucial, right?), and teaching (my passion/my paycheck)? Last semester the three dovetailed nicely and I have my nonfiction workshop at Whidbey Writers Workshop to thank. Sort of. I was afraid, as all writing teachers are secretly afraid, that teaching would sap all my energy. I was simultaneously afraid that I had demanded too much of the students - a complete draft or revision every week of the semester. So I decided I had to keep up. I had to submit a complete draft or revision of an essay to myself and/or to an editor every single week. The rule worked well because it kept me writing, and also because it kept me from fretting over creating a masterpiece every time I sat down to write. The results: 8 essays in 16 weeks. Seven of which have been published or accepted for publication. Here's one from the current issue of Mountain Gazette:

http://www.mountaingazette.com/mountain-notebook/re-entry/

Test Ride on the PNBA 2011 Book Awards Short List

Just before Laurie and I left on a sprawling Thanksgiving trek that has temporarily landed us at Whiskeytown National Recreation Area in Northern California for Laurie to prune a few fine old trees, I heard via the grapevine that Test Ride on the Sunnyland Bus was shortlisted for the Pacific Northwest Booksellers Association 2011 Book Awards. I didn't quite believe it, but it was true. Big news in my little world. In part because some of the other authors on the list were literary heroes of mine when I first started writing - Rick Bass, Ivan Doig - and all of them are authors I admire.

http://www.pnba.org/awardsshortlist2011.html


Additional kudos - and thanks - to Whidbey Writers Workshop MFA student Janet Buttenwieser. The PNBA folks chose to link to the interview she did with me outside Elliott Bay Books in May as introduction to the book.

http://whidbeystudents.com/nonfiction/

Mink River

I’ve long admired Brian Doyle’s essays: succinct, precise, unexpected, and gorgeous. They’re chockfull of playful language, unabashed spirituality, and plain elation. It’s not as though Doyle’s unwilling to confront harsh realities. His very short essay “Leap” is the most moving response to 9/11 I’ve ever read. But more often he confronts us with joy. The last sentence of “Joyas Voladoras,” which moves from a hummingbird’s heart to a blue whale’s to a human’s, makes me weep every single time I read it:

“You can brick up your heart as stout and tight and hard and cold and impregnable as you possibly can and down it comes in an instant, felled by a woman's second glance, a child's apple breath, the shatter of glass in the road, the words I have something to tell you, a cat with a broken spine dragging itself into the forest to die, the brush of your mother's papery ancient hand in a thicket of your hair, the memory of your father's voice early in the morning echoing from the kitchen where he is making pancakes for his children.”

Still Brian Doyle’s essays did not prepare me for Mink River, his first novel. I mean, I thought I’d like it, but I didn’t think I’d like it so much that as soon as I stopped reading I’d start all over again. But that’s exactly what happened. Part of the attraction is geographic. Mink River takes place in the fictional Northwest coast town of Neawanaka and the descriptions of the rain and forest rival those in Ken Kesey’s Sometimes a Great Notion. But Doyle’s novel is bigger-hearted than Kesey’s. The prose sings with echoes of Blake and Joyce, Gabriel Garcia Marquez and Louise Erdrich. The story itself shimmers. Mink River isn’t just about one stubborn family; it’s about one generous, pained, magic community.

And there’s the rub. I’ve been writing essays about community for ten years at least. (The collection Potluck: Community at the Edge of Wilderness comes out in spring) I’ve tried to capture the complicated nuances, loyalties, surprises, and sorrows. Hopefully, I’ve done it in my own little way. Doyle does it in a big way. Between braided storylines, short sections from a omniscient narrator describe what every character is doing at one moment, and the parallels between them captures connectedness, over and over, better than I ever could.

I adore these sections. I adore the characters: Worried Man and Cedar who collect stories for the Department of Public Works, the strong women – Nora the wood carver, Grace the fisherman turned barkeep, Stella the barkeep turned farmer. I love Moses the talking crow, Daniel the bicycling boy, Owen the Irishman, Michael the cop, the doctor who smokes 13 cigarettes a day, one for each apostle including Matthias, and young Nicholas who moves away to attend college at Oregon State. Which brings me to my only criticism of the book: Nicholas should’ve been a Duck. Really, it’s a terrific book. Better than terrific. Read it.