This week's Saturday Post from the Myth & Moor archives was chosen with Patricia A. McKillip in mind, for her body of work is shining example of how to re-wild the stories we tell, on the page and to each other.
From "Turning Our Fairy Tales Feral Again" by Sylvia V. Linsteadt:
"Humans are storytelling creatures. We need story, we need deep mythic happenings, as much as we need food and sun: to set us in our place in the family of things, in a world that lives and breathes and throws us wild tests, to show us the wildernesses and the lakes, the transforming swans, of our own minds. These minds of ours, after all, are themselves wild, shaped directly by our long legacy as hunters, as readers of wind, fir-tip, animal trail, paw-mark in mud. We are made for narrative, because narrative is what once led us to food, be it elk, salmonberry or hare; to that sacred communion of one body being eaten by another, literally transformed, and afterward sung to.
"The narratives we read, and watch, and tell ourselves about the relationship between humans and nature have cut out the voices of all wild things. They’ve cut out the breathing world and made us think we are alone and above. If these narratives don’t change -- if the elk and the fogs don’t again take their places and speak -- all manner of policies, conservation efforts and recycling bins won’t be worth a damn. We live in a world where, despite our best intentions, the stories we read -- literary, fantasy, science fiction, mystery, horror, poetry -- are almost wholly human-centric. Wild places and animals and weather patterns are stage sets, the backdrop, like something carved from plywood and painted in. They have no voice, no subjective truth. In our dominant narratives, we are not one of many peoples -- grass people, frog people, fox people -- as the Hupa Indians of the Klamath River region say. We are the only people.
"This makes sense on one level, as we live in a world in which we believe the only things that are truly and wholly animate are ourselves. Mostly all of what we have been taught is predicated on this assumption. On another level, this is complete lunacy, complete insanity. At what point did we loose the sense of stories and myths actually arising from the world around us, its heartbeats, its bloodflows, its bat-eared songs?"
"At some point, one asks, 'Toward what end is my life lived?'" writes Diane Ackerman (in The Rarest of the Rare: Vanishing Animals, Timeless Worlds). "A great freedom comes from being able to answer that question. A sleeper can be decoyed out of bed by the sheer beauty of dawn on the open seas. Part of my job, as I see it, is to allow that to happen. Sleepers like me need at some point to rise and take their turn on morning watch for the sake of the planet, but also for their own sake, for the enrichment of their lives. From the deserts of Namibia to the razor-backed Himalayas, there are wonderful creatures that have roamed the Earth much longer than we, creatures that not only are worthy of our respect but could teach us about ourselves.”
"Storytellers ought not to be too tame," Ben Okri advises in his inspiring essay collection A Way of Being Free. "They ought to be wild creatures who function adequately in society. They are best in disguise. If they lose all their wildness, they cannot give us the truest joys."
"When we walk, holding stories in us, do they touch the ground through our footprints?" asks Sylvia Linsteadt. "What is this power of metaphor, by which we liken a thing we see to a thing we imagine or have seen before -- the granite crag to an old crystalline heart -- changing its form, allowing animation to suffuse the world via inference? Metaphor, perhaps, is the tame, the civilised, version of shamanic shapeshifting, word-magic, the recognition of stories as toothed messengers from the wilds. What if we turned the old nursery rhymes and fairytales we all know into feral creatures once again, set them loose in new lands to root through the acorn fall of oak trees? What else is there to do, if we want to keep any of the wildness of the world, and of ourselves?"
"The word 'feral' has a kind of magical potency," said T. H. White (in a letter to a friend, 1937).
And it does indeed.
The gloriously wild art here is by Charles Vess, of course -- one of the great storytellers and mythic artists of our age. Charles and I grew up together in the fantasy field in New York City in the 1980s; he now lives and works beside a river winding through Virginia. I particularly recommend his extraordinary illustrations for the complete edition of The Books of Earthsea by Ursula K. Le Guin (Saga Press, 2018) and Drawing Down the Moon: The Art of Charles Vess (Dark Horse Books, 2009), and his various collaborations with Charles de Lint and Neil Gaiman, in addition to all his other gorgeous books and comics.
I still remember these words from an interview with Charles published in 2006, which seem even more germane today: "What I get mostly from the news," he said, "is that nobody wants to pay attention to what anyone else believes or thinks, everyone wants to think that they know the only true story. The world seems to be getting very violent about 'I'm right and you're wrong, and you're going to go to hell if you don't believe what I believe.' To me, that is probably the biggest problem in our contemporary world. I think that using fantasy and mythology you can show that there are thousands of different stories and all of them are true. If you can get someone to accept that, then it's an easy step for them to accept others who are totally different, with a totally different mythology, with a totally different set of stories. They come to see that others' stories are just as valid as their own."
Words: The passage above are from "Turning Our Fairy Tales Feral Again" by Sylvia V. Lindsteadt (written for The Dark Mountain Project, reprinted in Resilience, March 2103); Rarest of the Rare by Diane Ackerman (Random House, 1995); and A Way of Being Free by Ben Okri (Phoenix, 1998). The T.H. White quote is from White's Letters to a Friend (Putnams, 1982). The Charles Vess quote is from an interview with the artist in the International Conference for the Arts Journal (2006). All rights reserved by the authors.
Pictures: (1) She Came Out of the Forest Like a Ghost. (2 ) A sketch for The Winter King. (3) A sketch for The King of the Summer Country and His Bride of Flowers. (4 & 5) Illustrations for Medicine Road by Charles de Lint. (6 & 7) Illustrations for The Cats of Tanglewood Forest by Charles de Lint. All rights reserved by the artist.
Photographs: (1) The splendid new edition of The Books of Earthsea, Saga Press, 2018. (2) The hound contemplating Drawing Down the Moon, Instructions, A Circle of Cats, and The Cats of Tanglewood Forest. (3) Charles and me on the Isle of Skye, June 2017.