By Maria Popova

It must be encoded there, in the childhood memories of our synapses and our cells — how we came out of the ocean 35 trillion yesterdays ago, small and slippery, gills trembling with the shock of air, fins budding feet, limbs growing sinewy and furred, then unfurred, spine unfurling beneath the bone cave housing three pounds of pink flesh laced with one hundred trillion synapses that still sing with pleasure and awe when touched by the wildness of the world.

Even as the merchants of silicon and code try to render us disembodied intellects caged behind screens, something in our animal body knows where we came from and where we belong.

“Our origins are of the earth,” Rachel Carson wrote. “And so there is in us a deeply seated response to the natural universe, which is part of our humanity.” A century before her, William Henry Hudson (August 4, 1841–August 18, 1922) — another of humanity’s great writers devoted to rewilding the human spirit — captured the essence of what science now calls “soft fascination”: the way our brains and bodies respond when we immerse ourselves in the natural world. In a passage from his altogether wonderful 1893 book Idle Days in Patagonia (public domain), Hudson writes:

What has truly entered our soul and become psychical is our environment — that wild nature in which and to which we were born at an inconceivably remote period, and which made us what we are. It is true that we are eminently adaptive, that we have created, and exist in some sort of harmony with new conditions, widely different from those to which we were originally adapted; but the old harmony was infinitely more perfect than the new, and if there be such a thing as historical memory in us, it is not strange that the sweetest moment in any life, pleasant or dreary, should be when Nature draws near to it, and, taking up her neglected instrument, plays a fragment of some ancient melody, long unheard on the earth… Nature has at times this peculiar effect on us, restoring instantaneously the old vanished harmony between organism and environment.

At the end of his life, looking back on how becoming “a better observer” made him “a happier creature,” Hudson writes in his wonderful Book of a Naturalist (public domain):

The power, beauty, and grace of the wild creature, its perfect harmony in nature, the exquisite correspondence between organism, form and faculties, and the environment, with the plasticity and intelligence for the readjustment of the vital machinery, daily, hourly, momentarily, to meet all changes in the conditions, all contingencies; and thus, amidst perpetual mutations and conflict with hostile and destructive forces, to perpetuate a form, a type, a species for thousands and millions of years! … [One feels] the wonderfulness and eternal mystery of life itself; this formative, informing energy — this flame that burns in and shines through the case, the habit, which in lighting another dies, and albeit dying yet endures for ever; and the sense, too, that this flame of life was one, and of my kinship with it in all its appearances, in all organic shapes, however different from the human… the roe-deer, the leopard and wild horse, the swallow cleaving the air, the butterfly toying with a flower, and the dragon-fly dreaming on the river; the monster whale, the silver flying-fish, and the nautilus with rose and purple tinted sails spread to the wind.

Tuning into this primal resonance between us and the rest of nature is the mightiest act of unselfing I know — a vital quieting of our ruminative self-reference that is the dynamo of most of our suffering. Perhaps to be a happier creature means simply to be more of a creature — a life-form among life-forms, alive only because countless other creatures died along the way to perfect this form in a world that didn’t have to be beautiful, didn’t even have to exist.

If you want to befriend time — which is how you come to befriend life — turn to stone.

Climb a mountain and listen to the conversation between eons encoded in each stripe of rock.

Walk a beach and comb your fingers through the golden dust that was once a mountain.

Pick up a perfect oval pebble and feel its mute assurance that time can grind down even the heaviest boulder, smooth even the sharpest edge.

Rising forty feet above the rocky cliffs of Carmel is a great poem of gravity and granite that Robinson Jeffers (January 10, 1887–January 20, 1962), poet laureate of the co-creation of time and mind, composed with his wife Una and their twin sons.

A decade before Carl Jung built his famous stone tower in Zurich and conceptualized the realized self as an elemental stone, Jeffers apprenticed himself to a local stonemason to build Tor House and Hawk Tower. As this rocky planet was being unworlded by its first world war, he set about making “stone love stone.”

Seeing stonecutters as “foredefeated challengers of oblivion” and poets as stonecutters of the psyche, he went on hauling enormous slabs of granite up from the shore, carrying time itself, cupping its twelve consolations in his mortal hands, writing about what he touched and what touched him.

OH, LOVELY ROCK
by Robinson Jeffers

We stayed the night in the pathless gorge of Ventana Creek, up the east fork.
The rock walls and the mountain ridges hung forest on forest above our heads, maple and redwood,
Laurel, oak, madrone, up to the high and slender Santa Lucian firs that stare up the cataracts
Of slide-rock to the star-color precipices.

             We lay on gravel and kept a little camp-fire for warmth.
Past midnight only two or three coals glowed red in the cooling darkness; I laid a clutch of dead bay-leaves
On the ember ends and felted dry sticks across them and lay down again. The revived flame
Lighted my sleeping son’s face and his companion’s, and the vertical face of the great gorge-wall
Across the stream. Light leaves overhead danced in the fire’s breath, tree-trunks were seen: it was the rock wall
That fascinated my eyes and mind. Nothing strange: light-gray diorite with two or three slanting seams in it,
Smooth-polished by the endless attrition of slides and floods; no fern nor lichen, pure naked rock…as if I were
Seeing rock for the first time. As if I were seeing through the flame-lit surface into the real and bodily
And living rock. Nothing strange… I cannot
Tell you how strange: the silent passion, the deep nobility and childlike loveliness: this fate going on
Outside our fates. It is here in the mountain like a grave smiling child. I shall die, and my boys
Will live and die, our world will go on through its rapid agonies of change and discovery; this age will die,
And wolves have howled in the snow around a new Bethlehem: this rock will be here, grave, earnest, not passive: the energies
That are its atoms will still be bearing the whole mountain above: and I, many packed centuries ago,
Felt its intense reality with love and wonder, this lonely rock.

A generation later, another great poet displaced from the bedrock of belonging by another world war tried to make sense of being human by turning to stone:

STONE
by Charles Simic

Go inside a stone
That would be my way.
Let somebody else become a dove
Or gnash with a tiger’s tooth.
I am happy to be a stone.

From the outside the stone is a riddle:
No one knows how to answer it.
Yet within, it must be cool and quiet
Even though a cow steps on it full weight,
Even though a child throws it in a river,
The stone sinks, slow, unperturbed
To the river bottom
Where the fishes come to knock on it
And listen.

I have seen sparks fly out
When two stones are rubbed.
So perhaps it is not dark inside after all;
Perhaps there is a moon shining
From somewhere, as though behind a hill —
Just enough light to make out
The strange writings, the star charts
On the inner walls.

And although we are “creatures shaped by the planet’s rocky logic,” we are also creatures shaped by the myriad mercies of time, saved over and over by the leap beyond logic that is trusting time.

FORGIVENESS
by Maria Popova

May the tide
never tire of its tender toil
how over and over
it forgives the Moon
the daily exile
and returns to turn
mountains into sand
         as if to say,
you too can have
this homecoming
you too possess
this elemental power
of turning
the stone in the heart
into golden dust.

Mountains are some of our best metaphors for the mind and for the spirit, but they are also living entities, sovereign and staggering. I remember the first time I saw a mountain from an airplane — forests miniaturized to moss, rivers to capillaries, the Earth crumpled like a first draft. It is a sublime sight in the proper sense of the word — transcendent yet strangely terrifying in its vantage so unnatural to an earthbound biped, so deliriously and disquietingly godly.

Even from ground level, mountains overwhelm our creaturely frames of reference, confuse our intuitions of scale and perspective, belie the illusion of stability with which we walk through the world. Mary and Percy Shelley, crossing Europe on foot and on mule in their runaway love, one of them with a sprained ankle and the other pregnant, could barely comprehend the Alps when they first emerged from the horizon. “This immensity staggers the imagination,” they wrote in their joint journal, “and so far surpasses all conception that it requires an effort of the understanding to believe that they are indeed mountains.”

A generation later and a landmass over, the explorer John Charles Frémont (January 21, 1813–July 13, 1890) set out for the American West, fabled land of peril and promise, his eye most keenly fixed on the continent’s most majestic mountain: the Rockies, “of which so much had been said that was doubtful and contradictory.”

In the last year of his twenties, a decade after he was expelled from college for skipping class to roam the marshy forests of Charleston and a decade before he narrowly lost the presidential election by being too overtly feminist and abolitionist, Frémont traveled hundreds of river miles and traversed a thousand miles of prairie to bow at the foot of the Rockies. He gasped:

Though these snow mountains are not the Alps, they have their own character of grandeur and magnificence, and doubtless will find pens and pencils to do them justice.

And so he did. Frémont spent a decade recounting the fourteen-month adventure in his Report of the Exploring Expedition to the Rocky Mountains, Oregon and California (public domain), replete with lyrical renderings of nature and its feeling-tones that no photograph could ever capture. (This is why Instagram will never make poets obsolete.)

In an exultant entry from the 10th of August, after a night so cold his water froze, Frémont writes:

The air at sunrise is clear and pure, and the morning extremely cold, but beautiful. A lofty snowy peak of the mountain is glittering in the first rays of the sun, which have not yet reached us. The long mountain wall to the east, rising two thousand feet abruptly from the plain, behind which we see the peaks, is still dark, and cuts clear against the glowing sky. A fog, just risen from the river, lies along the base of the mountain… The scenery becomes hourly more interesting and grand, and the view here is truly magnificent; but, indeed, it needs something to repay the long prairie journey of a thousand miles. The sun has shot above the wall, and makes a magical change. The whole valley is glowing and bright, and all the mountain peaks are gleaming like silver.

Yet over and over the beauty keeps exceeding itself in a living reminder that nature’s imagination is always greater than our own, for we are part of the imagined:

Winding our way up a long ravine, we came unexpectedly in view of a most beautiful lake, set like a gem in the mountains. The sheet of water lay transversely across the direction we had been pursuing; and, descending the steep, rocky ridge, where it was necessary to lead our horses, we followed its banks to the southern extremity. Here a view of the utmost magnificence and grandeur burst upon our eyes. With nothing between us and their feet to lessen the effect of the whole height, a grand bed of snow-capped mountains rose before us, pile upon pile, glowing in the bright light of an August day. Immediately below them lay the lake, between two ridges, covered with dark pines, which swept down from the main chain to the spot where we stood. Here, where the lake glittered in the open sunlight, its banks of yellow sand and the light foliage of aspen groves contrasted well with the gloomy pines… Proceeding a little further, we came suddenly upon the outlet of the lake, where it found its way through a narrow passage between low hills. Dark pines which overhung the stream, and masses of rock, where the water foamed along, gave it much romantic beauty.

Having so rendered the romance of the mountain with a poet’s sensibility, Frémont returns abruptly to science — our other language for reverencing reality — when his most valuable instrument shatters during the outlet crossing:

The current was very swift, and the water cold, and of a crystal purity. In crossing this stream, I met with a great misfortune in having my barometer broken. It was the only one. A great part of the interest of the journey for me was in the exploration of these mountains, of which so much had been said that was doubtful and contradictory; and now their snowy peaks rose majestically before me, and the only means of giving them authentically to science, the object of my anxious solicitude by night and day, was destroyed. We had brought this barometer in safety a thousand miles, and broke it almost among the snow of the mountains. The loss was felt by the whole camp — all had seen my anxiety, and aided me in preserving it. The height of these mountains, considered by many hunters and traders the highest in the whole range, had been a theme of constant discussion among them; and all had looked forward with pleasure to the moment when the instrument, which they believed to be as true as the sun, should stand upon the summits, and decide their disputes. Their grief was only inferior to my own.

But in that singular way nature has of lifting the spirits by quieting the self, Frémont soon transcended the all-consuming smallness of his personal disappointment by returning to the grandeur around him, of which he too was a part. He began seeing not just the variousness of the mountain’s beauties but their interdependence. A century after Alexander van Humboldt observed while roaming another mountain that “in this great chain of causes and effects, no single fact can be considered in isolation,” thus formulating the modern conception of nature half a century before the word ecology was coined, Frémont writes:

We heard the roar, and had a glimpse of a waterfall as we rode along, and, crossing in our way two fine streams, tributary to the Colorado, in about two hours’ ride we reached the top of the first row or range of the mountains. Here, again, a view of the most romantic beauty met our eyes. It seemed as if, from the vast expanse of uninteresting prairie we had passed over, Nature had collected all her beauties together in one chosen place. We were overlooking a deep valley, which was entirely occupied by three lakes, and from the brink to the surrounding ridges rose precipitously five hundred and a thousand feet, covered with the dark green of the balsam pine, relieved on the border of the lake with the light foliage of the aspen. They all communicated with each other.

Couple with Scottish mountaineer and poet Nan Shepherd’s classic meditation on mountains, then revisit Darwin’s exultant account of his spiritual experience atop a mountain and pioneering plant ecologist Edith Clements’s drawings of Rocky Mountain flowers.