About This Life: Journeys on the Threshold of Memoryby Barry Lopez
The acclaimed National Book Award winner gives us a collection of spellbinding new essays that, read together, form a jigsaw-puzzle portrait of an extraordinary man.
With the publication of his best-selling Of Wolves and Men, and with the astonishing originality of Arctic Dreams, Barry Lopez established himself as that rare writer whose every/i>/i>… See more details below
The acclaimed National Book Award winner gives us a collection of spellbinding new essays that, read together, form a jigsaw-puzzle portrait of an extraordinary man.
With the publication of his best-selling Of Wolves and Men, and with the astonishing originality of Arctic Dreams, Barry Lopez established himself as that rare writer whose every book is an event, for both critics and his devoted readership. Now, in About This Life, he takes us on a literal and figurative journey across the terrain of autobiography, assembling essays of great wisdom and insight. Here is far-flung travel (the beauty of remote Hokkaido Island, the over-explored Galápagos, enigmatic Bonaire); a naturalist's contention (Why does our society inevitably strip political power from people with intimate knowledge of the land small-scale farmers, Native Americans, Eskimos, cowboys?); and pure adventure (a dizzying series of around-the-world journeys with air freight everything from penguins to pianos). And here, too, are seven exquisite memory pieces hauntingly lyrical yet unsentimental recollections that represent Lopez's most personal work to date, and which will be read as classics of the personal essay for years to come.
In writing about nature and people from around the world, by exploring the questions of our age, and, above all, by sharing a new openness about himself, Barry Lopez gives us a book that is at once vastly erudite yet intimate: a magically written and provocative work by a major American writer at the top of his form.
From the Hardcover edition.
London Review of Books
"Lopez crosses disciplines the way he conquers continents." - The Wall Street Journal
"Contemplative and poetic, sometimes even mystical. Lopez feels a deep spiritual connection to the natural world." - San Francisco Chronicle
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The American Geographies
It has become commonplace to observe that Americans know little of the geography of their country, that they are innocent of it as a landscape of rivers, mountains, and towns. They do not know, supposedly, the location of the Delaware Water Gap, the Olympic Mountains, or the Piedmont Plateau; and, the indictment continues, they have little conception of the way the individual components of this landscape are imperiled, from a human perspective, by modern farming practices or industrial pollution.
I do not know how true this is, but it is easy to believe that it is truer than most of us would wish. A recent Gallup Organization and National Geographic Society survey found Americans woefully ignorant of world geography. Three out of four couldn't locate the Persian Gulf. The implication was that we knew no more about our own homeland, and that this ignorance undermined the integrity of our political processes and the efficiency of our business enterprises.
As Americans, we profess a sincere and fierce love for the American landscape, for our rolling prairies, free-flowing rivers, and "purple mountains' majesty"; but it is hard to imagine, actually, where this particular landscape is. It is not just that a nostalgic landscape has passed away--Mark Twain's Mississippi is now dammed from Illinois to Louisiana and the prairies have all been sold and fenced. It is that it's always been a romantic's landscape. In the attenuated form in which it is presented on television today, in magazine articles, and in calendar photographs, the essential wildness of the American landscape is reduced to attractive scenery. We look out on a familiar, memorized landscape that portends adventure and promises enrichment. There are no distracting people in it and few artifacts of human life. The animals are all beautiful, diligent, one might even say well behaved. Nature's unruliness, the power of rivers and skies to intimidate, and any evidence of disastrous human land management practices are all but invisible. It is, in short, a magnificent garden, a colonial vision of paradise imposed on a real place that is, at best, only selectively known.
The real American landscape is a face of almost incomprehensible depth and complexity. If one were to sit for a few days, for example, among the ponderosa pine forests and black lava fields of the Cascade Mountains in western Oregon, inhaling the pines' sweet balm on an evening breeze from some point on the barren rock, and then were to step off to the Olympic Peninsula in Washington, to those rain forests with sphagnum moss floors soft as fleece underfoot and Douglas firs too big around for five people to hug, and then head south to walk the ephemeral creeks and sun-blistered playas of the Mojave Desert in southern California, one would be reeling under the sensations. The contrast is not only one of plants and soils, a different array, say, of brilliantly colored beetles. The shock to the senses comes from a different shape to the silence, a difference in the very quality of light, in the weight of the air. And this relatively short journey down the West Coast would still leave the traveler with all that lay to the east to explore--the anomalous sand hills of Nebraska, the heat and frog voices of Okefenokee Swamp, the fetch of Chesapeake Bay, the hardwood copses and black bears of the Ozark Mountains.
No one of these places, of course, can be entirely fathomed, biologically or aesthetically. They are mysteries upon which we impose names. Enchantments. We tick the names off glibly but lovingly. We mean no disrespect. Our genuine desire, though we may be skeptical about the time it would take and uncertain of its practical value to us, is to actually know these places. As deeply ingrained in the American psyche as the desire to conquer and control the land is the desire to sojourn in it, to sail up and down Pamlico Sound, to paddle a canoe through Minnesota's Boundary Waters, to walk on the desert of the Great Salt Lake, to camp in the stony hardwood valleys of Vermont.
To do this well, to really come to an understanding of a specific American geography, requires not only time but a kind of local expertise, an intimacy with place few of us ever develop. There is no way around the former requirement: if you want to know you must take the time. It is not in books. A specific geographical understanding, however, can be sought out and borrowed. It resides with men and women more or less sworn to a place, who abide there, who have a feel for the soil and history, for the turn of leaves and night sounds. Often they are glad to take the outlander in tow.
These local geniuses of American landscape, in my experience, are people in whom geography thrives. They are the antithesis of geographical ignorance. Rarely known outside their own communities, they often seem, at the first encounter, unremarkable and anonymous. They may not be able to recall the name of a particular wildflower--or they may have given it a name known only to them. They might have forgotten the precise circumstances of a local historical event. Or they can't say for certain when the last of the Canada geese passed through in the fall, or can't differentiate between two kinds of trout in the same creek. Like all of us, they have fallen prey to the fallacies of memory and are burdened with ignorance; but they are nearly flawless in the respect they bear these places they love. Their knowledge is intimate rather than encyclopedic, human but not necessarily scholarly. It rings with the concrete details of experience.
America, I believe, teems with such people. The paradox here, between a faulty grasp of geographical knowledge for which Americans are indicted and the intimate, apparently contradictory familiarity of a group of largely anonymous people, is not solely a matter of confused scale. (The local landscape is easier to know than a national landscape--and many local geographers, of course, are relatively ignorant of a national geography.)
And it is not simply ironic. The paradox is dark. To be succinct: the politics and advertising that seek a national audience must project a national geography; to be broadly useful that geography must, inevitably, be generalized and it is often romantic. It is therefore frequently misleading and imprecise. The same holds true with the entertainment industry, but here the problem might be clearer. The same films, magazines, and television features that honor an imaginary American landscape also tout the worth of the anonymous men and women who interpret it. Their affinity for the land is lauded, their local allegiance admired. But the rigor of their local geographies, taken as a whole, contradicts a patriotic, national vision of unspoiled, untroubled land. These men and women are ultimately forgotten, along with the details of the landscapes they speak for, in the face of more pressing national matters. It is the chilling nature of modern society to find an ignorance of geography, local or national, as excusable as an ignorance of hand tools; and to find the commitment of people to their home places only momentarily entertaining. And finally naïve.
If one were to pass time among Basawara people in the Kalahari Desert, or with Tikuna on the upper Amazon, or with Pitjantjatjara Aborigines in Australia, the most salient impression they might leave is of an absolutely stunning knowledge of their local geography--geology, hydrology, biology, and weather. In short, the extensive particulars of their intercourse with it.
In forty thousand years of human history, it has only been in the last few hundred years or so that a people could afford to ignore their local geographies as completely as we do and still survive. Technological innovations from refrigerated trucks to artificial fertilizers, from sophisticated cost accounting to mass air transportation, have utterly changed concepts of season, distance, soil productivity, and the real cost of drawing sustenance from the land. It is now possible for a resident of Kansas City to bite into a fresh mango in the dead of winter; for someone in San Francisco to travel to Atlanta in a few hours with no worry of how formidable might be crossings of the Great Basin Desert or the Mississippi River; for an absentee farmer to gain a tax advantage from a farm that leaches poisons into its water table and on which crops are left to rot. The Pitjantjatjara might shake their heads in bewilderment and bemusement, not because they are primitive or ignorant people, not because they have no sense of irony or are incapable of marveling, but because they have not (many would say not yet) realized a world in which such manipulation of the land--surmounting the imperatives of distance it imposes, for example, or turning the large-scale destruction of forests and arable land into wealth--is desirable or plausible.
In the years I have traveled through America, in cars and on horseback, on foot and by raft, I have repeatedly been brought to a sudden state of awe by some gracile or savage movement of animal, some odd wrapping of a tree's foliage by the wind, an unimpeded run of dew-laden prairie stretching to a horizon flat as a coin where a pin-dot sun pales the dawn sky pink. I know these things are beyond intellection, that they are the vivid edges of a world that includes but also transcends the human world. In memory, when I dwell on these things, I know that in a truly national literature there should be odes to the Triassic reds of the Colorado Plateau, to the sharp and ghostly light of the Florida Keys, to the aeolian soils of southern Minnesota and the Palouse in Washington, though the modern mind abjures the literary potential of such subjects. (If the sand and floodwater farmers of Arizona and New Mexico were to take the black loams of Louisiana in their hands they would be flabbergasted, and that is the beginning of literature.) I know there should be eloquent evocations of the cobbled beaches of Maine, the plutonic walls of the Sierra Nevada, the orange canyons of the Kaibab Plateau. I have no doubt, in fact, that there are. They are as numerous and diverse as the eyes and fingers that ponder the country--it is that only a handful of them are known. The great majority are to be found in drawers and boxes, in the letters and private journals of millions of workaday people who have regarded their encounters with the land as an engagement bordering on the spiritual, as being fundamentally linked to their state of health.
One cannot acknowledge the extent and the history of this kind of testimony without being forced to the realization that something strange, if not dangerous, is afoot. Year by year, the number of people with firsthand experience in the land dwindles. Rural populations continue to shift to the cities. The family farm is in a state of demise, and government and industry continue to apply pressure on the native peoples of North America to sever their ties with the land. In the wake of this loss of personal and local knowledge, the knowledge from which a real geography is derived, the knowledge on which a country must ultimately stand, has come something hard to define but I think sinister and unsettling--the packaging and marketing of land as a form of entertainment. An incipient industry, capitalizing on the nostalgia Americans feel for the imagined virgin landscapes of their ancestors, and on a desire for adventure, now offers people a convenient though sometimes incomplete or even spurious geography as an inducement to purchase a unique experience. But the line between authentic experience and a superficial exposure to the elements of experience is blurred. And the real landscape, in all its complexity, is distorted even further in the public imagination. No longer innately mysterious and dignified, a ground from which experience grows, it becomes a curiously generic backdrop on which experience is imposed.
In theme parks the profound, subtle, and protracted experience of running a river is reduced to a loud, quick, safe equivalence, a pleasant distraction. People only able to venture into the countryside on annual vacations are, increasingly, schooled in the belief that wild land will, and should, provide thrills and exceptional scenery on a timely basis. If it does not, something is wrong, either with the land itself or possibly with the company outfitting the trip.
People in America, then, face a convoluted situation. The land itself, vast and differentiated, defies the notion of a national geography. If applied at all it must be applied lightly, and it must grow out of the concrete detail of local geographies. Yet Americans are daily presented with, and have become accustomed to talking about, a homogenized national geography, one that seems to operate independently of the land, a collection of objects rather than a continuous bolt of fabric. It appears in advertisements, as a background in movies, and in patriotic calendars. The suggestion is that there can be a national geography because the constituent parts are interchangeable and can be treated as commodities. In day-to-day affairs, in other words, one place serves as well as another to convey one's point. On reflection, this is an appalling condescension and a terrible imprecision, the very antithesis of knowledge. The idea that either the Green River in Utah or the Salmon River in Idaho will do, or that the valleys of Kentucky and West Virginia are virtually interchangeable, is not just misleading. For people still dependent on the soil for their sustenance, or for people whose memories tie them to those places, it betrays a numbing casualness, a utilitarian, expedient, and commercial frame of mind. It heralds a society in which it is no longer necessary for human beings to know where they live, except as those places are described and fixed by numbers. The truly difficult and lifelong task of discovering where one lives is finally disdained.
If a society forgets or no longer cares where it lives, then anyone with the political power and the will to do so can manipulate the landscape to conform to certain social ideals or nostalgic visions. People may hardly notice that anything has happened, or assume that whatever happens--a mountain stripped of timber and eroding into its creeks--is for the common good. The more superficial a society's knowledge of the real dimensions of the land it occupies becomes, the more vulnerable the land is to exploitation, to manipulation for short-term gain. The land, virtually powerless before political and commercial entities, finds itself finally with no defenders. It finds itself bereft of intimates with indispensable, concrete knowledge. (Oddly, or perhaps not oddly, while American society continues to value local knowledge as a quaint part of its heritage, it continues to cut such people off from any real political power. This is as true for small farmers and illiterate cowboys as it is for American Indians, native Hawaiians, and Eskimos.)
The intense pressure of imagery in America, and the manipulation of images necessary to a society with specific goals, means the land will inevitably be treated like a commodity; and voices that tend to contradict the proffered image will, one way or another, be silenced or discredited by those in power. This is not new to America; the promulgation in America of a false or imposed geography has been the case from the beginning. All local geographies, as they were defined by hundreds of separate, independent native traditions, were denied in the beginning in favor of an imported and unifying vision of America's natural history. The country, the landscape itself, was eventually defined according to dictates of Progress like Manifest Destiny, and laws like the Homestead Act which reflected a poor understanding of the physical lay of the land.
When I was growing up in southern California, I formed the rudiments of a local geography--eucalyptus trees, February rains, desert cottontails. I lost much of it when my family moved to New York City, a move typical of the modern, peripatetic style of American life, responding to the exigencies of divorce and employment. As a boy I felt a hunger to know the American landscape that was extreme; when I was finally able to travel on my own, I did so. Eventually I visited most of the United States, living for brief periods of time in Arizona, Indiana, Alabama, Georgia, Wyoming, New Jersey, and Montana before settling years ago in western Oregon.
The astonishing level of my ignorance confronted me everywhere I went. I knew early on that the country could not be held together in a few phrases, that its geography was magnificent and incomprehensible, that a man or woman could devote a lifetime to its elucidation and still feel in the end that he or she had but sailed many thousands of miles over the surface of the ocean. So I came into the habit of traversing landscapes I wanted to know with local tutors and reading what had previously been written about, and in, those places. I came to value exceedingly novels and essays and works of nonfiction that connected human enterprise to real and specific places, and I grew to be mildly distrustful of work that occurred in no particular place, work so cerebral and detached as to be refutable only in an argument of ideas.
These sojourns in various corners of the country infused me, somewhat to my surprise on thinking about it, with a great sense of hope. Whatever despair I had come to feel at a waning sense of the real land and the emergence of false geographies--elements of the land being manipulated, for example, to create erroneous but useful patterns in advertising--was dispelled by the depth of a single person's local knowledge, by the serenity that seemed to come with that intelligence. Any harm that might be done by people who cared nothing for the land, to whom it was not innately worthy but only something ultimately for sale, I thought, would one day have to meet this kind of integrity, people with the same dignity and transcendence as the land they occupied. So when I traveled, when I rolled my sleeping bag out on the shores of the Beaufort Sea or in the high pastures of the Absaroka Range in Wyoming, or at the bottom of the Grand Canyon, I absorbed those particular testaments to life, the indigenous color and songbird song, the smell of sun-bleached rock, damp earth, and wild honey, with some crude appreciation of the singular magnificence of each of those places. And the reassurance I felt expanded in the knowledge that there were, and would likely always be, people speaking out whenever they felt the dignity of the earth imperiled in these places.
The promulgation of false geographies, which threaten the fundamental notion of what it means to live somewhere, is a current with a stable and perhaps growing countercurrent. People living in New York City are familiar with the stone basements, the cratonic geology, of that island and have a feeling for birds migrating through in the fall, their sequence and number. They do not find the city alien but human, its attenuated natural history merely different from that of rural Georgia or Wisconsin. I find the countermeasure, too, among Eskimos who cannot read but who might engage you for days on the subtleties of sea-ice topography. And among men and women who, though they have followed in the footsteps of their parents, have come to the conclusion that they cannot farm or fish or log in the way their ancestors did; the finite boundaries to this sort of wealth have appeared in their lifetime. Or among young men and women who have taken several decades of book-learned agronomy, zoology, silviculture and horticulture, ecology, ethnobotany, and fluvial geomorphology and turned it into a new kind of local knowledge, who have taken up residence in a place and sought, both because of and in spite of their education, to develop a deep intimacy with it. Or they have gone to work, idealistically, for the National Park Service or the fish and wildlife services or for a private institution like the Nature Conservancy. They are people to whom the land is more than politics or economics. These are people for whom the land is alive. It feeds them, directly, and that is how and why they learn its geography.
In the end, then, if you begin among the blue crabs of Chesapeake Bay and wander for several years, down through the Smoky Mountains and back to the bluegrass hills, along the drainages of the Ohio and into the hill country of Missouri, where in summer a chorus of cicadas might drown out human conversation, then up the Missouri itself, reading on the way the entries of Meriwether Lewis and William Clark and musing on the demise of the plains grizzly and the sturgeon, cross west into the drainage of the Platte and spend the evenings with Gene Weltfish's The Lost Universe, her book about the Pawnee who once thrived there, then drop south to Palo Duro Canyon and the irrigated farms of the Llano Estacado in Texas, turn west across the Sangre de Cristo, southernmost of the Rocky Mountain ranges, and move north and west up onto the slickrock mesas of Utah, those browns and oranges, the ocherous hues reverberating in the deep canyons, then go north, swinging west to the insular ranges that sit like battleships in the pelagic space of Nevada, camp at the steaming edge of sulphur springs in the Black Rock Desert, where alkaline pans are glazed with a ferocious light, a heat to melt iron, then cross the northern Sierra Nevada, waist-deep in summer snow in the passes, to descend to the valley of the Sacramento, and rise through groves of elephantine redwoods in the Coast Range, to arrive at Cape Mendocino, before Balboa's Pacific, cormorants and gulls, gray whales headed north for Unimak Pass in the Aleutians, the winds crashing down on you, facing the ocean over the blue ocean that gives the scene its true vastness, making this crossing, having been so often astonished at the line and the color of the land, the ingenious lives of its plants and animals, the varieties of its darknesses, the intensity of the stars overhead, you would be ashamed to discover, then, in yourself, any capacity to focus on ravages in the land that left you unsettled. You would have seen so much, breathtaking, startling, and outsize, that you might not be able for a long time to break the spell, the sense, especially finishing your journey in the West, that the land had not been as rearranged or quite as compromised as you had first imagined.
After you had slept some nights on the beach, however, with that finite line of the ocean before you and the land stretching out behind you, the wind first battering then cradling you, you would be compelled by memory, obligated by your own involvement, to speak of what left you troubled. To find the rivers dammed and shrunken, the soil washed away, the land fenced, a tracery of pipes and wires and roads laid down everywhere, blocking and channeling the movement of water and animals, cutting the eye off repeatedly and confining it--you had expected this. It troubles you no more than your despair over the ruthlessness, the insensitivity, the impetuousness of modern life. What underlies this obvious change, however, is a less noticeable pattern of disruption: acidic lakes, skies empty of birds, fouled beaches, the poisonous slags of industry, the sun burning like a molten coin in ruined air.
It is a tenet of certain ideologies that man is responsible for all that is ugly, that everything nature creates is beautiful. Nature's darkness goes partly unreported, of course, and human brilliance is often perversely ignored. What is true is that man has a power, literally beyond his comprehension, to destroy. The lethality of some of what he manufactures, the incompetence with which he stores it or seeks to dispose of it, the cavalier way in which he employs in his daily living substances that threaten his health, the leniency of the courts in these matters (as though products as well as people enjoyed the protection of the Fifth Amendment), and the treatment of open land, rivers, and the atmosphere as if, in some medieval way, they could still be regarded as disposal sinks of infinite capacity, would make you wonder, standing face to the wind at Cape Mendocino, if we weren't bent on an errand of madness.
The geographies of North America, the myriad small landscapes that make up the national fabric, are threatened--by ignorance of what makes them unique, by utilitarian attitudes, by failure to include them in the moral universe, and by brutal disregard. A testament of minor voices can clear away an ignorance of any place, can inform us of its special qualities; but no voice, by merely telling a story, can cause the poisonous wastes that saturate some parts of the land to decompose, to evaporate. This responsibility falls ultimately to the national community, a vague and fragile entity to be sure, but one that, in America, can be ferocious in exerting its will.
Geography, the formal way in which we grapple with this areal mystery, is finally knowledge that calls up something in the land we recognize and respond to. It gives us a sense of place and a sense of community. Both are indispensable to a state of well-being, an individual's and a country's.
One afternoon on the Siuslaw River in the Coast Range of Oregon, in January, I hooked a steelhead, a sea-run trout, that told me, through the muscles of my hands and arms and shoulders, something of the nature of the thing I was calling "the Siuslaw River." Years ago I had stood under a pecan tree in Upson County, Georgia, idly eating the nuts, when slowly it occurred to me that these nuts would taste different from pecans growing somewhere up in South Carolina. I didn't need a sharp sense of taste to know this, only to pay attention at a level no one had ever told me was necessary. One November dawn, long before the sun rose, I began a vigil at the Dumont Dunes in the Mojave Desert in California, which I kept until a few minutes after the sun broke the horizon. During that time I named to myself the colors by which the sky changed and by which the sand itself flowed like a rising tide through grays and silvers and blues into yellows, pinks, washed duns, and fallow beiges.
It is through the power of observation, the gifts of eye and ear, of tongue and nose and finger, that a place first rises up in our mind; afterward it is memory that carries the place, that allows it to grow in depth and complexity. For as long as our records go back, we have held these two things dear, landscape and memory. Each infuses us with a different kind of life. The one feeds us, figuratively and literally. The other protects us from lies and tyranny. To keep landscapes intact and the memory of them, our history in them, alive, seems as imperative a task in modern time as finding the extent to which individual expression can be accommodated before it threatens to destroy the fabric of society.
If I were to now visit another country, I would ask my local companion, before I saw any museum or library, any factory or fabled town, to walk me in the country of his or her youth, to tell me the names of things and how, traditionally, they have been fitted together in a community. I would ask for the stories, the voice of memory over the land. I would ask to taste the wild nuts and fruits, to see their fishing lures, their bouquets, their fences. I would ask about the history of storms there, the age of the trees, the winter color of the hills. Only then would I ask to see the museums. I would want first the sense of a real place, to know that I was not inhabiting an idea. I would want to know the lay of the land first, the real geography, and take some measure of the love of it in my companion before I stood before the paintings or read works of scholarship. I would want to have something real and remembered against which I might hope to measure their truth.
From the Trade Paperback edition.
Meet the Author
Barry Lopez is the author of four works of nonfiction, including Arctic Dreams and Of Wolves and Men; seven works of fiction, including Field Notes and Winter Count; and a novella-length fable, Crow and Weasel. His work appears regularly in Harper's, where he is a contributing editor, as well as in The Paris Review, Orion, The Georgia Review, and elsewhere. The recipient of numerous literary awards, including the National Book Award for nonfiction, he lives in western Oregon.
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T-T I miss Leafclan....I wish I never became grounded.
The first cat l met when l darted into the LeafClan camp was Shadowkit. He was a rather dramatic kit. But he was my friend...<br>"Get out of my way!" He wailed, scrambling around me. <Br>"Wha... Wait! Where are you going?" I meowed, sprinting after him. <br>"The ravine! I'm going to jump off of it!"<br>"What?! Why!"<br>"I have no friends! Nobody likes me!" At that point, l was thoroughly confused as l ran after him. "Wait! I'll be your friend!" <br>Shadowkit whipped around and stared at me. "Really?"<br>"Yeah...sure...My name's Wispkit."<br>Once we were back to camp and his suicidal attempt was sorted out, l grew very shy and nervous. The place was full of other cats, and not even Shadowkit was in sight. I darted directly under the paws of Spotheart, who later became my mentor and father figure.<br>"Whoa! Where'd you come from..."<br>"l..."<br>At that moment, Dawnstar appeared with Leafwing on her heels. <Br>"Leafwing, l– Spotheart, who is that?" Dawnstar peered down at me and back at her mate, searching for an answer.<br>"l'm not sure, she came out of no where."<br>Leafwing tapped Dawnstar's shoulder. "Can l take care of her? Can l take care of the kit?" <Br>Dawnstar hshed her and looked down at me again. "What's your name?" <br>"Wispkit..." I murmured quietly.<br>"Leafwing, l suppose you could take care of her... Take her to the nursery with the other kits."<br>Leafwing nodded and gently carried me to the nursery, where l met my best friends and Wildheart for the first time. I can only describe Wildheart, Dawnstar, and Leafwing as the sweetest and most wonderful mothers anykit could hope for. I would give anything to speak to them again, if only for five minutes. <br>I was still nervous, and l studied the nursery carefully. Not counting myself and Shadowkit, who wasn't there at the moment, there was seven kits in all. Three of them were my brother and sisters; Truekit, Sharpkit, and Dovekit. Not biological, of course, but we all had a bond stronger than kinship. The other four were Leafwinng's actual kits, but they died of greencough before l got to know them.<br>"Hello!" Dovekit crowed. She was always the outgoing one. "I'm Dovekit, this is my brother, Sharpkit, and that's Truekit!" She gestured to the two others, who nodded politely and went about their buisness. <p>[All of this story is true; and the rest of it as well. LeafClan was the single best Clan l have ever been in, and l miss all my friends dearly. I felt that someone should write a story about the wonderful Clan that is was. This was all over a year ago; l'm surprised how much l remember. ~Wispleap]