More Than Cool Reason: A Field Guide to Poetic Metaphor

While I was on my last library errand of 2023, I happened upon this one in the shelf alongside Språkets myller. Since I’m an incurable fan of George Lakoff and his work on metaphor I figured “why not?” and threw it on the pile. I finally finished it last week and here’s to hoping this will uncork the backlog of reading I have for the year. I accept my long-term 600+ book TBR as something like a calculus limit, to be approached but never quite reached, but the acute TBR has hit critical mass where I now have an inner urgency to do something. The current acute TBR: the English translation of Frère d’âme, Homeboy (borrowed from a bookish friend), Händelsehorisonten and Singulariteten (ahead of another bookish acquaintance’s panel moderation with author Balsam Karam in May), and a pair of niche but mercifully brief Swedish reference books before a test in October (and ideally before a third English reference book arrives sometime next month). Until last Friday, More Than Cool Reason was also on the list. One down, five to go.

More Than Cool Reason is a much briefer work than the highly specialized Philosophy in the Flesh (what book isn’t briefer than that one) and also slightly shorter than the general interest Metaphors We Live By. This time Lakoff and cowriter Turner…turn…their attention to metaphor as it is deployed in poetry. Here their stated audience is undergrad-level literature students, so the book functions as an introduction to Lakoff’s theory of metaphor, with poetry specifically as a test case. They begin by dissecting a few short poems (or selections from longer ones), mixing familiar classics like Shakespeare sonnets and Dickinson with some translations from outside the classic English language canon, and note how the conventional metaphors we have for understanding everyday concepts make for effective poetry (“People are plants,” “Death is a journey,” “A lifetime is a day,” “A lifetime is a year,” etc.). There’s also discussion of what makes metaphors effective versus nonsense and some philosophical discussion of Lakoff’s theory, criticisms of it, and Lakoff’s response to the criticism. The book ends with a close reading of William Carlos’ Williams “To A Solitary Disciple” as well as some Chinese proverbs.

The other reason I picked up More Than Cool Reason was because I don’t get poetry. At the end of the day I’m just too literal minded to really be receptive to most of it, I think, so I thought that this kind of nuts and bolts approach to poetry would help me be a better reader. Did it? Unsure. I don’t know that I’m a better reader of poetry now, having finished the book—I would have to go out and actually read poetry with this insight fresh in my brain—but the approach Lakoff and Turner take in this kind of literary analysis is so thoroughly grounded in the text and in the concrete that I at least feel like I’m a better reader of the poems they dissected in the book.

I would rank Metaphors We Live By as the better general interest introduction to the topic. Not everyone is interested in becoming a more informed reader of poetry, but I think most of us are vaguely interested in becoming better communicators and in better understanding how other people think. I also wish that More Than Cool Reason had been course literature for my poetry class in undergrad (no shade on Fussell’s Poetic Meter and Poetic Form). For all I know, it would have helped demystify poetry for me twenty years earlier.

Empty Mansions

According to my arbitrary rules for the blog, I’m cheating with this pick since I haven’t finished reading Bill Dedman’s Empty Mansions yet. It’s a biography, though; there’s no shocking twist or reveal to be had in here that might cause me to revise the opinion I’ve formed so far. It’s fair game to have an opinion now, even if I’m only a third of the way in.

Back in January I got lost down an Internet rabbit hole that I am now utterly unable to recreate and ended up listening to some author talks from the Amagansett Free Library released as podcast episodes over on The Internet Archive. The episode I found was a double header with Pam Belluck and Bill Dedman, each promoting their own new (at the time) book.

Back in 2009, looking at real estate in New England prompted Bill Dedman to investigate the mystery of a very empty and very expensive mansion in New Canaan, Connecticut. Who owned it? Why were they selling it? Why was it empty? These questions led him to stupendously wealthy heiress Huguette Clark (now deceased, though still alive in 2009) and Empty Mansions is Dedman’s attempt to trace not only Clark’s life story but the historical context that shaped it.

To the extent that there is a mystery or hook in the book, Dedman resolves it fairly early on: Clark maintained the New Canaan mansion, and several other properties, as a place for the hired help to retreat to in case of unimaginable emergency. (The original mansion that sent Dedman on his quest had been purchased during the height of Cold War “Duck and Cover” paranoia, to give some context to her thinking.) I appreciate that level of honesty with readers: “I sold you this book based on a mystery but gave away the answer right away. If that’s what you wanted, you can put it down now. But I think the story behind the answer is a really fascinating one, so I hope you’ll let me tell it to you.” My words, not Dedman’s.

In the course of his research, Dedman was contacted by one of Clark’s extended family members, Paul Clark Newell, Jr., the co-writer listed on the cover (now also deceased). Newell was in frequent telephone contact with Clark in the 90s and until her death in 2011, and the book includes several excerpts from these conversations in punchy little asides: Clark recalling a particular dinner party, or a family trip to Hawaii, those sorts of things.

I’m reading an ebook copy from one of my US libraries, and the short sections make it an excellent choice for phone reading on a commute. Empty Mansions is very easy to dip in and out at a moment’s notice, the same as with The Big Balloon. That’s probably the reason that it’s the book I’ve been reading the most at the moment, to be honest. I was originally fairly ambivalent about checking it out. I felt like I had a good enough sense about what it was and who it was about just from the podcast episode. Reading the whole book—when I have over 600 books on my TBR! oof—felt like…a bit of a waste of time? Or not a waste as such, but more like a book-length treatment of the concept was unnecessary. Thanks to the podcast episode, I now knew who Huguette Clark was, so I had already gotten to the end, so to speak. I don’t know, it’s hard to explain. At any rate, every checkout is a win for your local library’s circulation numbers and therefore its funding, so in the end I figured it was at least worth it in that sense!

But Dedman also provides an account of Clark’s father, W. A. Clark, which makes for an interesting if breakneck tour of US history from the frontier days up to nearly the present day. Clark was born in 1906, when W. A. Clark was already in his sixties: he had been of age to serve in the American Civil War (though dodged the conflict by heading west to prospect).

Empty Mansions is thoroughly researched, and Dedman makes a point at the beginning to not put words in the mouth of a dead woman he had never met himself (she had passed away before the book’s publication). In that respect, it’s a stark and noteworthy contrast to A Lenape Among the Quakers, though Dedman had the incalculable advantage of abundant primary resources. That said, there’s nothing particularly earth-shattering or enlightening in here, either. Dedman doesn’t break new historical ground or propose any revolutionary new theories, and while several of the family photographs had never before been published, they’re not necessarily of historical import. At the end of the day, Empty Mansions is more entertaining than educational, but that’s what makes it such a great commute read.

Språkets myller

I went on a small library binge at the end of 2023 to stock up on holiday reading. With my goals for 2024 already in mind, I walked out with one book off of my TBR pile and two books in French (plus one spontaneous selection).

More accurately, I picked a book adjacent to my TBR pile. The title I was after was Margareta Westman’s Språkets lustgård och djungel, which the Stockholm library website assured me was available at Stadsbiblioteket. Alas, it was nowhere to be found, but another book by Margareta Westman was readily at hand, so I took that one instead. Språkets lustgård originally ended up on the TBR after it was referenced in another Swedish essay collection on translation that I read, though if I had any other thoughts besides “Hm, that sounds interesting” they’re lost to me now. We’re talking six, maybe even seven years ago at this point. And since Språkets myller is, unsurprisingly, on the same topic of linguistics, I’m willing to count it as a win for my TBR goal.

Westman was a (popular?)* professional language nerd and, among other achievements, head of the Language Council of Sweden. She wrote a lot about the Swedish language, and after her death the Council decided to collect several of her essays into one place: Språkets myller.

It’s hard to get too excited about a collection where the average age of the  content is older than me (collected and published in 2000, but original publication dates ranging from the 1960s to the 1990s), especially when it focuses on a topic that evolves as quickly as language does. Westman’s ideas are interesting and expressed with lucid prose, but any of the chapters about how young people express themselves “these days” are now historical relics rather than au courant observations. Other topics are a bit more timeless, like thoughts on the purpose of writing instruction in the classroom and how to structure it, or reflections on shifts in attitudes towards linguistic norms and mistakes.

Overall, trying to review, summarize, or even just discuss Språkets myller in English was a lot like trying to do the same with Den högsta kasten: it’s simply too Swedish. What’s the point? But at least with Westman I learned a thing or two along the way—and I crossed a book off my TBR—which is a lot more than I can say for Rydberg!

*Since I’m not Swedish I have no idea how Westman’s reputation lands in the general popular culture: was she a popular and accessible language authority akin to Susie Dent in the UK? Or…I’m not sure who in the US, actually. Or is she a name for nerds? I queried a very unscientific sampling of Swedes around my age who are all to greater or lesser degrees interested in language. The first answer I got (from someone who had studied linguistics at the university level) about whether they were familiar with Westman was “no, not at all.” The same pattern emerged as responses rolled in from others.

A Lenape Among the Quakers: The Life of Hannah Freeman

One of the things about living abroad is that you end up feeling more like you’re from a particular place than you did when you lived at home. Maybe it has something to do with the desire to distinguish yourself from other people from the US, maybe it’s homesickness, maybe it’s a lot of things.

Whatever the reason, I’ve found that living in Stockholm has made me interested in filling in the gaps of my local history. The biggest gap is probably where the Lenape are concerned, so my reading started there. A reference to Hannah Freeman, or “Indian Hannah,” came up along the way and that’s how A Lenape Among the Quakers: The Life of Hannah Freeman ended up on my TBR.

The title (A Lenape Among the Quakers) and the subtitle (The Life of Hannah Freeman) pretty aptly describe the two parts and goals of the book. Author Dawn G. Marsh sketches out the events of Hannah Freeman’s life, interweaving it with the evolving (or maybe more accurately, deteriorating) relationship between Pennsylvania and the Lenape. Marsh is a professor of history at Purdue University, but the book is popular history written for a lay audience rather than a scholarly text. Still, it includes footnotes, a bibliography, and a small appendix with relevant historical documents, so there are avenues there for curious readers.

The framing device of Freeman’s life is a great way to examine standard fare Pennsylvania history from another perspective and level some well-deserved criticism. In terms of A Lenape Among the Quakers, the book is pretty solid. The benevolence and moral authority of Pennsylvania’s Quaker settlers compared to some of the other colonies is part of the commonwealth’s identity and mythos; pointing out that they weren’t cutting fair deals with their Lenape neighbors, even when William Penn was still alive, is a bitter and necessary pill to swallow.

When it comes to The Life of Hannah Freeman, however, the book deflates. In the absence of a robust historical record, Marsh hypothesizes about what life might have looked like for Freeman and speculates on how she might have thought or felt about particular events. While these suppositions are always clearly marked as such, and based in fairly reasonable historical assessment, it still feels like a stretch. On the one hand it’s important to be reminded of the human face of history, but in the absence of anything like journal accounts or other primary sources it’s pretty slim pickings. Black Tudors, which is a similar project in structure with even scantier primary sources, nonetheless engaged in far fewer creative exercises. However, Kaufmann had the advantage of ten biographies to include in the book rather than just one; there was enough material for a book without too much creative license.

And while Marsh is justified in criticizing the myth-making of Hannah Freeman by Chester County residents and Pennsylvania historians, it’s not clear that what Marsh is doing in this book is necessarily anything different. The last chapter focuses on Hannah Freeman’s memorial in Chester County and the public pomp and circumstance surrounding it in two different ceremonies (the first one in the early 1900s and the second one around a hundred years later). The memorial boulder, Marsh points out, isn’t even where Freeman is (most likely) buried. And the dedication events both times around were, let’s say, clunky.  The original ceremony had a lot of romanticizing of “the Indian,” with poetry and dramatic reenactments based on the “noble savage” stereotype; the re-dedication ceremony in 2009 included a smudging ceremony carried out by a member of the Cherokee, rather than Lenape, nation. (I don’t know enough to know whether smudging is even part of Lenape spiritual or religious practice.) Marsh criticizes both of these as events that miss the point and that flatten Hannah Freeman into a symbol to serve a myth-making narrative instead of treating her as a complex human being.

Yet Marsh herself has spent all of the rest of the book “[moving] Native American women’s history away from a narrative of loss and victimization toward a framework of resistance and adaptation.” It’s one thing to invite readers to reflect on what this moment may have meant or felt like for a human fellow traveler—it might not have value as reportage of historical fact, but it does have value in reaffirming the complex humanity of historical figures to readers who usually just think of them as names and maybe a handful of pertinent facts. It’s also one thing to recognize the biases inherent in the available historical record and seek to correct them or at least adjust for them in your interpretations. But it’s another thing to set out on a project with the goal of elevating a historical figure to a symbol of resilience and entrepreneurship. It still reads like the same symbol- and myth-making Marsh comes to condemn in the memorial dedication ceremonies.

It’s a fine line to tow, in the end. If you want to write a biography of someone like Hannah Freeman, you know from the beginning that much of the scraps of primary sources you have will be biased against your subject, maybe even outright hostile to them. On one level because of their gender, and then an additional level because of their race. As a result, these firsthand accounts need to be taken with a grain of salt. But it seems like Marsh set out to write the The Life of Hannah Freeman portion of the book to justify her own opinion rather than chronicle a life.

The Barbizon: The Hotel That Set Women Free

In keeping with my “one book per indie bookstore per city visited” rule for my vacation last August, when my hosts took me to Book People in Austin I stood resolute to acquire one (1) book. I went in, prepared to be ruthless and discriminating in my choices, but in the end that was unnecessary because the solution presented itself almost immediately upon our entrance. And on sale, even!

While a to-read list can quickly become a graveyard of aspirations, I still find it to be a handy filter for bookstore and library visits. If I have a vague awareness of at least some books I at one point wanted to read, then it can help narrow down my browsing. That was exactly the case when I more or less walked right into The Barbizon: The Hotel That Set Women Free.

I read an excerpt from the book during its promotional rounds on Lit Hub, and thought the excerpt and the premise of the book were both interesting. On to the TBR it went. Two years later, here I am! The downside is that while I might have knocked Barbizon off my TBR, over the course of reading the book I probably added five or six other books because so many of the illustrious personages Paulina Bren outlines in the book sound like fascinating people and writers. In that sense, writing about the Barbizon is a great framework for looking at women writers from the mid-to-late twentieth century. It would be a great idea for a literary anthology or series and I wonder why no one’s done it yet.

Barbizon is a quick read; I was able to knock it out in about a day and a half. Of course, I was on vacation with bookish friends who were happy to spend hours sitting quietly and reading, so I might be overstating how snappy the pace is. Regardless, it’s a fun and breezy look at a piece of American history I’d never known about (even though I’ve read The Bell Jar) and, as I told one half of my hosting couple, it made me happy that I live here and now instead of sixty, seventy, a hundred years ago. If you plopped me in the lobby of the Barbizon hotel back in the fifties, or if I had been a college student in the sixties applying for a Mademoiselle guest editor role, I have no doubt I would have been summarily dismissed and rejected for not being pretty enough. Nor would I have been cut out to be a homemaker or mother, which even the most talented and ambitious women who boarded at the hotel seemed to inevitably become. (And yet, with all of this freedom and free time available to me, I fritter it all away on nonsense. But that’s another issue entirely!)

If only the world weren’t on fire…!

Are You My Mother?

I am constitutionally incapable of walking into a library without at least paging through something. And so while I was at one of my home libraries in August to renew my card, I took a stroll around the main floor to see if anything caught my eye. My circuit ended in the graphic novel section, where Alison Bechdel’s Are You My Mother? was one of the featured books.

I knew Bechdel by reputation (who among us has not heard of “the Bechdel test” by now?) but not yet by works, even if I had heard of Fun Home and “Dykes to Watch Out For.” A memoir about parents? Well heck, very on brand to read while visiting one’s parents!

Happy families are all alike; unhappy families are all unique in their unhappiness. That’s the mood reading people’s reflections on their own parents. How are mine like theirs? How are mine different? Do we have any of the same difficulties in our relationships with them? Can I learn anything from how this person managed it (or didn’t)? Plus a heaping helping of: thank God my parents are the way they are.

Not that Are You My Mother? is didactic, or instructional. There are a lot of asides about Donald Winnicott and child psychology and Freud, but only because they were Bechdel’s own interests at the time of writing. And lots of Virginia Woolf and To The Lighthouse, as well. I guess one day I should make a real honest effort with that book, but today is not that day.

My dad is not Bechdel’s dad; my mom is not Bechdel’s mom. My relationships with them have different wrinkles and potholes than Bechdel has with hers, though sometimes they overlap or resonate in a kind of harmony. Never enough that the suggestions from her therapists feel like they can apply to me, but enough for me to do the slow nod of recognition.

Full House: The Spread of Excellence from Plato to Darwin

One of strongest pieces of evidence that, contrary to Leibniz’s assertion, we do not live in the best of all possible worlds is that somehow Richard Dawkins is still tottering around while we lost Stephen Jay Gould to cancer in 2002.

Or maybe there’s a parallel universe version of me lamenting a Gould who lived long enough to become the villain. Who knows!

While today I try to make a point of reading as many authors as possible, my default reading position up until maybe ten years ago was to focus obsessively on single authors and suck the marrow out of them—by which I mean, read every available book, article, essay, whatever. The only hard limit I drew for myself was posthumous publications, and only because I know from firsthand experience how utterly embarrassing all of my unrevised writing is. Stephen Jay Gould was one of those obsessive focal points for me, though the volume of his writing ultimately outstripped my attention span and, thus, much of his work remains for me to read. Hooray!

I acquired Full House: The Spread of Excellence from Plato to Darwin during the period of hyperfocus, but then somehow kept on putting off reading it. I have a vague sense that I was holding off on it to save as a reward for other, more onerous reading, until that went on so long I just moved on entirely. Then, during my trip to the US, I uncovered the book in a cache I had packed up to make ready for shipping to Sweden and decided now was the time to read it and evaluate if I wanted to ship it across the ocean.

The argument Gould makes in Full House is basically one against the teleological framework of evolution: that things evolve for some higher purpose, or more specifically deliberately towards complexity; that complexity is somehow the best, most special, or most desirable form of life. Rather, Gould argues, we should look at it in terms of variety. Really what’s fantastic is that we have such a range of complexity! The basis of the book is his article “The Median is Not The Message,” originally published sometime in the early 90s, in which he points out how misleading (or not) the various statistical averages (that is, mean, median, and mode) can be.  In Full House he expands his focus from cancer prognoses to batting averages and bacteria.

In a way it would probably be interesting to read this alongside Taleb’s Black Swan, which focuses on the extreme tails of the bell curve that Gould alludes to, but I don’t particularly feel like going back to re-read Taleb (I’m hoping that If Books Could Kill will one day cover Black Swan) so that essay will have to wait another day.

Full House is an interesting read, and a relaxing one. Gould had principles and politics, and much of his fame stems from publicly taking very specific stances. Here he isn’t addressing creationism or Charles Murray; the paradigm he’s looking to shift here is much more benign and so Full House is a much less stressful book. (Yes, it’s good that someone is debunking Murray, but then it’s stressful to remember that Murray is out there needing to be debunked.) But because it’s so relatively light and uncontroversial, it’s not the most essential Gould book for a personal library. Will I need to look anything up in here in order to prove a point on the Internet? Nope. Will I want to quote anything from this in order to better express my opinion on a topic? Again, probably not. The Mismeasure of Man, Rocks of Ages and The Hedgehog, the Fox and the Magister’s Pox are more the kinds of Gould books with a permanent residence in my shelves. Nonetheless a worthwhile read, and another book crossed off the to-read list.

I Know Why the Caged Bird Sings

I mentioned elsewhere on the Internet that unless you make a concerted effort to review your to-read list, it really becomes just a graveyard of aspirations. On this particular blog I used the graveyard metaphor in my review of The Jakarta Method, but originally I used it in a post elsewhere about Farewell to Manzanar, which I read over two years ago now: September 4, 2021, if Storygraph has it right. Farewell had been on my to-read list since probably around 2010 or so.

And yet I don’t have a post here about Farewell to Manzanar. I might have been too overwhelmed or too lazy or too whatever at the time, but I think another part of it was easily: what is there to say about a book like this one? There’s nothing I could say about this book that wouldn’t just be superfluous and trite, so why bother, in the end it would just come across as glib.

The same feeling prevails for I Know Why the Caged Bird Sings but I want to at least push through that wall to say: here is a book I read. Not for the sake of getting anyone else to read the book, because it doesn’t exactly need more hype, but because I want as complete a record of my reading as possible. So, to that end: story time!

My sambo’s discovery of mid-century pulp magazines a couple of years ago led to him occasionally reading spooky poetry from publications like Weird Tales etc. on his Twitch stream. This, in turn, has led to occasional suggestions for other poems from viewers and regulars, which is how earlier this year he ended up asking me if I’d ever heard of Maya Angelou. I thought for a second that he was joking, since he’s usually extremely clued in to American (popular) culture, but no, the question was in earnest.

“Of course. She’s probably one of the premiere American poets of the twentieth century. National treasure.”

“Someone requested a poem by her today and it was almost impossible for me to get through it without crying.”

“Mm-hm. Like I said, national treasure.”

And yet I didn’t get around to I Know Why the Caged Bird Sings until now. I’m glad that I read it but embarrassed it took this long.

Gift From the Sea

Another random “left field” book, I stumbled across Gift From the Sea when a college friend asked me to read a selection from it at her wedding in Seattle. It’s a short book, and in the run-up to a wedding there’s a lot of “hurry up and wait,” so over the next couple days I just…read most of it. After the wedding I put it on my to-read list so I would eventually finish reading it. An excellent souvenir, then, when years later I was visiting that same friend in Seattle and came across a copy of Gift From the Sea in the bookstore!

As Becky (my friend) describes it, it’s a book that Anne Morrow Lindbergh wrote to convince herself to stay in a crappy marriage. That knowledge, paired with the couple’s Nazi and Fascist sympathies, certainly takes a bit of the shine off of it—here’s an excellent example of separating art from artist and where people are comfortable drawing the line. For me, Gift From the Sea is on the “I still feel comfortable consuming this” side of the line; an example of a “nope, no thank you” would be the music of Percy Grainger.

Gift From the Sea is an installment in one of my favorite not-really-a-genres, “author retreats into isolation and writes their Deep Thinky Thoughts.” Other examples of the form include Walden and Journal of a Solitude. Lindbergh writes a great deal on the need for solitude and alone time in romantic relationships, particularly for women; as much as it’s depressing to admit in the Year of Our Lord 2023 (compared to 1955), this still rings true. All the data currently available about the burden of childcare and domestic duties in hetero partnerships, marriage or otherwise, indicates that the bulk of it still falls on women. Hence why the alone time—time “off the clock,” so to speak—is particularly important for women in this situation.

The other underlying current in Gift From the Sea is the vague sense that modern life is overwhelming and things are happening too quickly, which again: looking back on 1955 from the distance of 2023 the idea of life moving too fast is ludicrous. I suppose that overwhelm is a permanent part of life anymore, and as such sentiments like Lindbergh’s will remain relatable. You read books like this one not necessarily to learn anything new but to remind yourself of what you value and what’s important in your life. “Yes, that’s right, I need to take more time for myself,” you say, nodding along. “Yes, that’s right, I do best when I have alone time to recharge.” Sometimes we need that reminder, and that’s probably why Gift From the Sea remains such a favorite.

Braiding Sweetgrass

I was concerned about the environment from a pretty young age, though whether it’s because Captain Planet was a successful piece of propaganda or because the combination of pragmatism and anxiety (“There’s nowhere else to go if we ruin the Earth”) set in early, who can say? Either way, “environmental awareness” has always been in the back of my mind, though usually in the form of planet-wide existential crises: the hole in the ozone layer, climate change, that sort of thing.

Coming up on ten years in Sweden, however, I’ve started thinking about the environment as a means of creating place on a personal level. How do you create the feeling of at-home, of belonging? The first step is to make the new surroundings familiar, to learn the names and properties of things. Theoretically. I don’t actually know very many plant or tree names for anywhere I’ve lived, but sometimes I page through our copy of  Den Nordiska Floran with a guilty conscience.

Braiding Sweetgrass, as a collection of essays on ecology and the nature of relationships, speaks to that approach to the environment. Yes, planet-wide catastrophes are looming, but any individual disconnect from the environment is a loss on a personal level as well. Each essay in the collection explores a different facet of this disconnect, including at the academic level where the dispassionate and disconnected objective approach to environmental studies supercedes or ignores a squishier, more subjective one. Kimmerer is at home in both worlds and has a knack for transforming bleak, dry data points about a particular moss or plant or animal species into a narrative that, again and again, focuses on relationships and interdependency.

Here is an interesting tension: supporting worthy causes versus acquiring stuff. I always like to buy at least one thing if I visit a local independent bookshop, but I was on vacation, traveling only with my carry-on bag and a purse, and with limited shelf space at home. Financially support Reading in Public, an adorable bookstore and cafe in West Des Moines, or add to my growing mountain of stuff?

It comes as no surprise that I bought the book, of course. Now the escape route to avoid the mountain of stuff: am I deluding myself if I think that a curious reader taking the Greyhound out of Indianapolis will find the book before a harried cleaner just tosses it in the garbage? Would the profit earned by Reading in Public be worth whatever environmental cost may be incurred by the book once it leaves my hands? Is my motivator a noble detachment from stuff or the mindless disposability that naturally arises in a world filled with consumer goods that are constantly made anew? Am I a thoughtful steward of the planet or just lazy?

I suppose the only downside is that the people most likely to read and enjoy Braiding Sweetgrass are the ones who are already asking themselves those sorts of questions—preaching to the converted. But better to light a candle than curse the darkness.