Where I Was From. Joan Didion

subsidized price by the California State Water Project and the Central Valley Project, an agency of the federal government, which, through the commodity-support program of the Department of Agriculture, also subsidized the crop itself. Ninety percent of this California rice was glutinous medium-grain Japonica, a type not popular in the United States but favored in both Japan and Korea, each of which banned the import of California rice. These are the kinds of contradictions on which Californians have tended to founder when they try to think about the place they come from.

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      JOSIAH ROYCE, who was from 1885 until his death in 1916 a central figure in what later became known as the “golden period” of the Harvard philosophy department, was born in Grass Valley, not far from Sacramento, grew up there and in San Francisco, and in some sense spent the rest of his life trying to make coherent the discontinuities implicit in this inheritance. “My native town was a mining town in the Sierra Nevada—a place five or six years older than myself,” he said at a dinner given in his honor at the Walton Hotel in Philadelphia in 1915.

      My earliest recollections include a very frequent wonder as to what my elders meant when they said that this was a new community. I frequently looked at the vestiges left by the former diggings of miners, saw that many pine logs were rotten, and that a miner’s grave was to be found in a lonely place not far from my own house. Plainly men had lived and died thereabouts. I dimly reflected that this sort of life had apparently been going on ever since men dwelt thereabouts. The logs and the grave looked old. The sunsets were beautiful. The wide prospects when one looked across the Sacramento Valley were impressive, and had long interested the people of whose love for my country I heard so much. What was there then in this place that ought to be called new, or for that matter crude? I wondered, and gradually came to feel that part of my life’s business was to find out what all this wonder meant.

      Here we come close to a peculiar California confusion: what Royce had actually made it his “life’s business” to do, his work, did not resolve “what all this wonder meant.” Instead, Royce invented an idealized California, an ethical system in which “loyalty” was the basic virtue, the moral law essential to the creation of “community,” which was in turn man’s only salvation and by extension the redeeming essence of the California settlement. Yet the California community most deeply recalled by the author of this system was what he acknowledged to have been “a community of irresponsible strangers” (or, in another reference, “a blind and stupid and homeless generation of selfish wanderers”), a community not of the “loyal” but of “men who have left homes and families, who have fled from before the word of the Lord, and have sought safety from their old vexatious duties in a golden paradise.”

      Such calls to dwell upon the place and its meaning (and, if the meaning proved intractable, to reinvent the place) had been general in California since the first American settlement, the very remoteness of which was sufficiently extreme to raise questions about why one was there, why one had come there, what the voyage would ultimately mean. The overland crossing itself had an aspect of quest: “One was going on a pilgrimage whose every suggestion was of the familiar sacred stories,” Royce wrote. “One sought a romantic and far-off golden land of promise, and one was in the wilderness of this world, often guided only by signs from heaven.… The clear blue was almost perpetually overhead; the pure mountain winds were about one; and again, even in the hot and parched deserts, a mysterious power provided the few precious springs and streams of water.”

      Each arriving traveler had been, by definition, reborn in the wilderness, a new creature in no way the same as the man or woman or even child who had left Independence or St. Joseph however many months before: the very decision to set forth on the journey had been a kind of death, involving the total abandonment of all previous life, mothers and fathers and brothers and sisters who would never again be seen, all sentiment banished, the most elementary comforts necessarily relinquished. “I had for months anticipated this hour, yet, not till it came, did I realize the blank dreariness of seeing night come on without house or home to shelter us and our baby-girl,” Josiah Royce’s mother, Sarah, wrote of the day in 1849 on which she set off for Sacramento with her husband and first child.

      The blank dreariness, Sarah Royce wrote.

      Without house or home, Sarah Royce wrote.

      Suffice it to say, we started, my great-great-grandfather William Kilgore wrote.

      This moment of leaving, the death that must precede the rebirth, is a fixed element of the crossing story. Such stories are artlessly told. There survives in their repetition a problematic elision or inflation, a narrative flaw, a problem with point of view: the actual observer, or camera eye, is often hard to locate. This was Josephus Adamson Cornwall’s goodbye to his mother, as related by a son who seems to have heard the story from his mother, Nancy Hardin Cornwall, she of the fixed and settled principles, aims, and motives in life, who had not herself been present: “Just ready to go, he entered his mother’s parlor. She went out with him to his horse to say the last words and to see him depart. She told him that she would never again see him in this world, gave him her blessing, and commended him to God. He then mounted his horse and rode away, while she followed him with a last look, until he vanished from sight.”

      Who witnessed this moment of departure? Was the camera on Josephus Cornwall’s mother, following her son with the last look? Or on the son himself, glancing back as he vanishes from sight? The gravity of the decisive break demands narrative. Conflicting details must be resolved, reworked into a plausible whole. Aging memories will be recorded as gospel. Children recount as the given of their personal and cultural history what neither they nor even their parents could possibly have known, for example the “providential interposition” that was said to have saved Josephus Cornwall’s life when he was an infant in Georgia: “It was a peculiarity of that section of the state that mad dogs were very common. One day when his parents were busy he was left in the house alone in his cradle. A mad dog entered the room, walked around it and went away, but never molested him.” What witness saw the mad dog enter the room? Did the witness take action, or merely observe and report, trusting the “providential interposition” to save the baby?

      Yet it was through generations of just such apparently omniscient narrators that the crossing stories became elevated to a kind of single master odyssey, its stations of veneration fixed. There were the Platte, the Sandy, the Big and Little Sandys. There was the Green River. Fort Hall. Independence Rock. The Sweetwater. There were the Humboldt, the Humboldt Sink, the Hastings cut-off. The names were so deeply embedded in the stories I heard as a child that when I happened at age twenty to see the Green River, through the windows of a train crossing Wyoming, I was astonished by this apparent evidence that it actually existed, a fact on the ground, there to be seen—entirely unearned—by anyone passing by. Just as there were stations of veneration, so there were objects of veneration, relics of those who had made the redeeming journey. “The old potato masher which the Cornwall family brought across the plains in 1846” was not the only family totem given by my grandmother’s cousins to the Pacific University Museum in 1957. “After consulting with certain of the heirs,” Oliver Huston wrote, the cousins had also determined “that it will be advisable to turn over to the Museum at that time the small desk sent Grandfather in 1840 by William Johnson from Hawaii, and also certain mementoes of Grandmother Geiger,” specifically “the blouse which formed part of her wedding costume” and “the old shawl or shoulder wrap she wore in her later years.” So Saxon Brown, the heroine of Jack London’s curious “California” novel The Valley of the Moon, could hold in her hands her mother’s red satin corset (“the pioneer finery of a frontier woman who had crossed the plains”) and see pass before her, “from East to West, across a continent, the great hegira of the land-hungry Anglo-Saxon. It was part and fiber of her. She had been nursed on its traditions and its facts from the lips of those who had taken part.”

      As repeated, this was an odyssey the most important aspect of which was that it offered moral or spiritual “tests,” or challenges, with fatal consequences for failure. Josiah Royce’s parents, traveling with only their two-year-old daughter, three