A Field Guide To Getting Lost. Rebecca Solnit

of footprints unfurling behind me, I couldn’t get literally lost but I lost track of time, becoming lost in that other way that isn’t about dislocation but about the immersion where everything else falls away.

      Sometimes there were small sprays of brown oak leaves on the ground, though there were no trees anywhere within sight and shore was far away. Sometimes sodden crumpled clots of feather and bone that had once been birds sat on the strand. How the leaves arrived, how the birds died, was unfathomable, that word meaning depths that cannot be plumbed. Behind me etched high into the rocks and mountains beyond the Great Salt Lake was the waterline of Lake Bonneville, which had been so much bigger, so much deeper, long ago in a wetter era on earth, when redwoods grew in Arizona and Death Valley was likewise a lake. Ten thousand years or more have passed since that lake ceased to exist, but its ring all around the landscape insisted that where I walked was once deep underwater, just as the flotsam and soft sand reminded me that not so long ago I could have rowed or swum where I was walking. This was new land, temporary land, that would be drowned in winter, and years might pass before it would be walkable again, or centuries. Antelope Island, golden in the harsh light, would get larger and clearer as I walked but always remain ahead like a dream or a hope. The water that remained was pale blue and on that scorching October afternoon a pale sky met it far away, the distinction between water and air hard to make out.

      Lost in the walking that set me loose in the moorings of time, I thought of the talk I had given in Salt Lake City. To try to describe the profundity of change we fail to register, I had told a story from another lake, from Lake Titicaca in Bolivia. When I was two, we lived in Lima, Peru, for a year, and all of us, mother, father, brothers, and I, went up into the Andes once, and then sailed across Lake Titicaca, from Peru to Bolivia. Lake Titicaca, one of those high-altitude lakes, Tahoe, Como, Constance, Atitlán, like blue eyes staring back at the blue sky.

      One day a few years ago my mother took out of her cedar chest the turquoise blouse she bought for me on that trip to Bolivia, a miniature of the native women’s outfits. When she unfolded the little garment and gave it to me, the living memory of wearing the garment collided shockingly with the fact that it was so tiny, with arms less than a foot long, with a tiny bodice for a small cricket cage of a ribcage that was no longer mine, and the shock was that my vivid memory included what it felt like to be inside that brocade shirt but not the fact that inside it I had been so diminutive, had been something utterly other than my adult self who remembered. The continuity of memory did not measure the abyss between a toddler’s body and a woman’s.

      When I recovered the blouse, I lost the memory, for the two were irreconcilable. It vanished in an instant, and I saw it go. Sometimes you hear of murals and miraculously preserved bodies buried, sealed, protected from light for hundreds or thousands of years. Exposed to the fresh air and light for the first time, they begin to fade, crumble, disappear. Sometimes gaining and losing are more intimately related than we like to think. And some things cannot be moved or owned. Some light does not make it all the way through the atmosphere, but scatters.

      I put the blouse away in my own trunk and then took it out when I began to think of it again and found that my memory had turned it into something more familiar, into the velvet blouses Navajo women and girls wear. The Bolivian blouse was beaded, and it had a zigzag neckline of soft blue piping and two blue bows whose ribbons were pressed into flat creases long ago, but the fabric was a striped brocade. It was turquoise, the blue of swimming pools and of semiprecious stones, brighter than the sky. Bolivia, I said to a friend, who heard, Oblivion.

      When I first began to write, I had been a child for most of my life, and my childhood memories were vivid and potent, the forces that shaped me. Most of them have grown fainter with time, and whenever I write one down, I give it away: it ceases to have the shadowy life of memory and becomes fixed in letters; it ceases to be mine; it loses that mobile unreliability of the live, just as the blouse ceased to be something I recalled being inside and became the garment worn by that unrecognizable toddler in the snapshot when it was handed to me. A person in her twenties has been a child for most of her life, but as time goes by that portion that is childhood becomes smaller and smaller, more and more distant, more and more faded, though they say at the end of life the beginning returns with renewed vividness, as though you had sailed all the way around the world and were going back into the darkness from which you came. For the elderly, often the nearby and recent become vague and only the faraway in time and space is vivid.

      For children, it’s the distance that holds little interest. Gary Paul Nabhan writes about taking his children to the Grand Canyon, where he realized “how much time adults spend scanning the landscape for picturesque panoramas and scenic overlooks. While the kids were on their hands and knees, engaged with what was immediately before them, we adults traveled by abstraction.” He adds that whenever they approached a promontory, his son and daughter would “abruptly release their hands from mine, to scour the ground for bones, pine cones, sparkly sandstone, feathers, or wildflowers.” There is no distance in childhood: for a baby, a mother in the other room is gone forever, for a child the time until a birthday is endless. Whatever is absent is impossible, irretrievable, unreachable. Their mental landscape is like that of medieval paintings: a foreground full of vivid things and then a wall. The blue of distance comes with time, with the discovery of melancholy, of loss, the texture of longing, of the complexity of the terrain we traverse, and with the years of travel. If sorrow and beauty are all tied up together, then perhaps maturity brings with it not what Nabhan calls abstraction, but an aesthetic sense that partially redeems the losses time brings and finds beauty in the faraway.

      Antelope Island grew closer and closer, larger and clearer, but finally there was a point at which there was no going on. Or perhaps there was but it would have meant swimming in that sea that even in its usual state is far saltier than the ocean and in this drought must have been intensely concentrated. I can imagine another version of that journey in which I stripped and swam, burning my back and bobbing like a cork, to the island, but I do not know what I would have done upon arrival. And I’m not sure the island was meant to be arrived at, for up close its glowing gold would have dissolved into scrub and soil.

      When I had gone as far as I could walk, I looked down and the scalloped edges of land and water lost 40 scale and looked like the world seen from an airplane. Airplane flights are usually from city to city, but in between are the untrodden realms to which you can only give approximate labels—somewhere in Newfound-land, somewhere in Nebraska or the Dakotas. From miles up in the sky, the land looks like a map of itself, but without any of the points of reference that make maps make sense. The oxbows and mesas out the window are anonymous, unfathomable, a map without words. I’ve found out that the wish the plane would do an emergency landing in one of them is widespread among those who go from city to city on their work. These nameless places awaken a desire to be lost, to be far away, a desire for that melancholy wonder that is the blue of distance. And that day at the Great Salt Lake as I looked at my feet, even those feet seemed a great distance away, in this terrain without scale, in which the near and the far folded into each other, in which puddles were oceans and sand ridges mountain ranges.

      I walked back, the island behind me and before me the ruinous Salt Palace where the truck awaited, back into the world of ordinary clutter. But near where I’d started there was one more surprise in that landscape: a series of shallow indentations where water had dried into salt crystals. One was a carpet of roses, one a heap of straws, one a field of snowflakes, all made of muddy salt, though when I tried to cut away a small cluster of the pale brown roses to take with me, they immediately became less beautiful. Some things we have only as long as they remain lost, some things are not lost only so long as they are distant.

       DaisyChains

      Things in my family have a way of disappearing. When I was much younger, my father’s baby sister showed me a whole box of family photographs, and the blank wall that lay behind my own beginnings gave way under a cascade of cardboard-mounted formal poses and strange unnamed faces in all the range from sepia to gelatin-silver gray. My aunt and I sat for a long time with the cardboard box in her living room cast into almost perpetual gloom by