Turbulence, like many forms of trouble, cannot always be seen. We bounce so hard my arms sail helplessly above my head. In evolution, wing bones became arms and hands; perhaps I'm de-evolving.

What Flaubert refers to as the “mélancholies du voyage” is like the sadness I feel as one season departs and another arrives.

The fog lifted in the evening and a blue-black band at the horizon marked the end of the sea and the beginning of thought. Where does a beginning begin when nothing has gone on before?

The toughness I was learning was not a martyred doggedness, a dumb heroism, but the art of accommodation. I thought: to be tough is to be fragile; to be tender is to be truly fierce.

The retreat and disappearance of glaciers—there are only 160,000 left—means we're burning libraries and damaging the planet, possibly beyond repair. Bit by bit, glacier by glacier, rib by rib, we're living the Fall.

From the clayey soil of northern Wyoming is mined bentonite, which is used as filler in candy, gum, and lipstick. We Americans are great on fillers, as if what we have, what we are, is not enough. We have a cultural tendency toward denial, but being affluent, we strangle ourselves with what we can buy. We gave only to look at the houses we build to see how we build *against* space, the way we drink against pain and loneliness. We fill up space as if it were a pie shell, with things whose opacity further obstructs our ability to see what is already there.

The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly; light would elucidate the most difficult truths; wind would sweep away obtuse padding.