ANNIE DILLARD LIVING LIKE WEASELS PDF
SUMMARY. Annie Dillard wrote “Living Like Weasels”, an essay in which she paints the story of her encounter with a weasel. She explains that. In the essay “Living Like Weasels” Annie Dillard reflects on her first encounter with a wild weasel and presents her interpretation of the moment. Free Essay: Annie Dillard’s essay “Living Like Weasels” exhibits the mindless, unbiased, and instinctive ways she proposes humans should.
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A weasel is wild. Who knows what he thinks? He sleeps in his underground den, his tail draped over his nose.
Sometimes he lives in his den for two days without leaving. Llike, he stalks rabbits, mice, muskrats, weasele birds, killing more bodies than he can eat warm, and often dragging the carcasses home. Obedient to instinct, he bites his prey at the neck, either splitting the jugular vein at the throat or crunching the brain at the base of the skull, and he does not let go. One naturalist refused to kill a weasel who was socketed into his hand deeply as a rattlesnake.
The man could in no way pry the tiny weasel off and he had to walk half a mile to water, the villard dangling from his palm, and soak him off like a stubborn label. And once, says Ernest Thompson Seton–once, a man shot an eagle out of the sky.
Annie Dillard – Wikipedia
He examined the eagle and found the dry skull of a weasel fixed by the jaws to his throat. The supposition is that the eagle had pounced on the weasel and the weasel swiveled and bit as instinct taught him, tooth to neck, and nearly won.
I would like to have seen that eagle from the air a few weeks or months before he was shot: Or did the eagle eat what he could reach, gutting the living weasel with his talons before his breast, bending his beak, cleaning the beautiful airborne bones? I have been reading about weasels because I saw one last week. I startled a weasel who startled me, and we exchanged a long glance. Anie minutes from my house, through the woods by the quarry and across the highway, is Hollins Pond, a remarkable livng of shallowness, where I like to go at sunset and sit on a tree trunk.
Hollins Pond is also called Murray’s Pond; it covers two acres of bottomland near Tinker Creek with six inches of water and six thousand lily pads. In winter, brown-and-white steers stand in the middle of it, merely dampening their hooves; from the distant shore they look like miracle itself, complete with miracle’s nonchalance.
Now, in summer, the steers are gone. The water annir have blossomed and spread to a green horizontal plane that is terra firma to plodding blackbirds, and tremulous ceiling to black leeches, crayfish, and carp.
This is, mind you, suburbia. It is a five-minute walk in three directions to rows of houses, though none is visible here. There’s a 55 mph highway at one end of the pond, and a nesting pair of wood ducks at the other. Under every bush is a muskrat hole or a beer can. The far end is an alternating series of fields and woods, fields and woods, threaded everywhere with motorcycle tracks–in whose bare clay wild turtles lay eggs.
Licing had crossed the highway, stepped over two low barbed-wire fences, and traced the motorcycle path in all gratitude through the wild rose and poison ivy of the pond’s shoreline up into high grassy fields. Then I cut down through the woods to the mossy fallen tree where I sit. This tree is excellent. It makes a dry, upholstered bench at the upper, marshy end of the pond, a plush jetty raised from the thorny shore between a shallow blue body of water and a deep blue body of sky.
The sun had just set. I was relaxed on the tree trunk, ensconced in the lap of lichen, watching the ,iving pads at my feet tremble and part dreamily over the thrusting path of a carp. A yellow bird appeared to my right and flew behind me. It caught my eye; I swiveled around–and wweasels next instant, inexplicably, I was looking down at a weasel, who was looking up at me. I’d never seen one wild before. He was ten inches long, thin as a llke, a muscled lime, brown as fruitwood, soft-furred, alert.
His face was fierce, small and pointed as a lizard’s; he would have made a good arrowhead. There was just a dot of chin, maybe two brown hairs’ worth, and then the pure white lkke began that spread down his lime. He had two black eyes I didn’t see, any more than you see a window. The weasel was stunned into stillness as he was emerging from beneath an enormous shaggy wild rose bush four feet away.
I was stunned into stillness twisted backward on the tree trunk. Our eyes locked, and someone threw away the key. Our look was as if two lovers, or deadly enemies, met unexpectedly on an overgrown path when each had been thinking of something else: It was also a bright blow to the brain, or a sudden beating of brains, with all the charge and intimate grate of rubbed balloons.
It emptied our weadels. It felled the forest, moved the fields, and drained the pond; the world dismantled and tumbled into that black hole of eyes. If you and I looked at each other that way, our skulls would split and drop to our shoulders.
We keep our skulls. Xillard was only last week, and already I don’t remember what shattered the enchantment. I think I blinked, I think I retrieved my brain from the weasel’s and tried to memorize what I was seeing, and the weasel felt the yank of separation, the careening splash-down livinng real life and the urgent current of instinct.
He vanished under the wild rose. I waited motionless, my annnie suddenly full of data and my spirit with pleadings, but he didn’t return. Please do not tell me about “approach-avoidance conflicts. Brains are private places, muttering through unique and secret tapes–but the weasel and I both plugged into another tape simultaneously, for a sweet and shocking time. Can I livinb it if it was a blank? What goes on in his brain the rest of the time?
What does a weasel think about? His journal is tracks in clay, a spray of feathers, mouse blood and bone: I would like to learn, or remember, how to live. I come to Hollins Pond not so much to learn how to live as, frankly, to forget about it. That is, I don’t think I can learn from a wild animal how to annei in particular–shall I suck warm blood, hold my tail high, walk with my footprints precisely over the prints of my hands?
The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons. I would like to live as I should, as the weasel lives as he should.
And I suspect that for me the way is like the weasel’s: I missed my chance. I should have gone for the throat. I should have lunged for that streak of white under the weasel’s chin and held on, held on through mud and into the wild rose, held on for a dearer life. We could live under the wild rose as weasels, mute and uncomprehending.
I could very calmly go wild. I could live two days in the den, curled, leaning on mouse fur, sniffing bird bones, blinking, licking, breathing musk, my hair tangled in the roots of grasses.
Living like weasels by louie naser on Prezi
Down is a good place to go, where the mind is single. Down is out, out of your ever-loving mind and back to your careless senses. I remember muteness as a prolonged and giddy fast, where every moment is a feast of utterance received. Time and events are merely poured, unremarked, and ingested directly, like blood pulsed into my gut through a jugular vein. Could two live that way? Could two live under the wild rose, and explore weaaels the pond, so that the smooth mind of each is as everywhere present to weeasels other, and as received and as unchallenged, as falling snow?
We could, you know. We can live any way we want. People take vows of poverty, chastity, and obedience–even of silence–by choice. The thing is to stalk your calling in a certain skilled and supple way, to locate the most tender and wewsels spot and plug into that pulse. This is yielding, not fighting. A weasel doesn’t “attack” anything; a weasel lives as he’s meant to, yielding at every moment to weaxels perfect freedom of single necessity.
I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you’re going no matter how you live, cannot you part. Seize it and let it seize you up aloft even, till your eyes burn out and drop; let your musky flesh dillagd off in shreds, and let your very bones unhinge and scatter, loosened over fields, over fields and woods, lightly, thoughtless, from any height at all, from as high as eagles.
Annie Dillard begins her personal narrative with a description of the weasel living in the natural world–two paragraphs of description, well more so, a powerful setting using animals in a metaphorical way to depict an elusive human reality. As far back as the origin of writing, storytellers have used animals to give shape and meaning to human experience.
What is the purpose of the two anecdotes–the story of the “naturalist” and the story of the “eagle”? Weaesls does Dillard seasels by “wild”?
What is she saying about weasels? What are your expectations as a reader at this liviny early in the narrative? The way humans interact with wildness–we eillard beer cans and drive motorcycles and we fashion and re-fashion nature, sometimes with disregard.
Dillard’s tale is also about the margins between suburban sprawl and remaining patches of wildness; her story takes place on the boundaries between two different worlds. This is equivalent to the kind of journalism John Keeble calls horizontal energy, a term he borrows from Wes Jackson, that indicates thebest sources for good stories. The antithesis is vertical energy, a spectacle of lights and glitter that contains no real information. Remember that essays always go somewhere and that includes the author’s ability to imply that the factual description he or she offers will have implications to living life as a human being.
For instance, we know by the turn in Dillard’s narrative–paragraph three– without Dillard coming right out and saying so that the qualities or realities that characterize a wild weasel will define Dillard’s life and ours as human beings in some way in the rest of the story.