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Red: Passion and Patience in the Desert [NOOK Book]

Overview

The beloved author of Refuge, Terry Tempest Williams is one of the country’s most eloquent and imaginative writers. The desert is her blood. In this potent collage of stories, essays, and testimony, Red makes a stirring case for the preservation of America’s Redrock Wilderness in the canyon country of southern Utah.

As passionate as she is persuasive, Williams writes lyrically about the desert’s power and vulnerability, describing wonders that...
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Red: Passion and Patience in the Desert

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Overview

The beloved author of Refuge, Terry Tempest Williams is one of the country’s most eloquent and imaginative writers. The desert is her blood. In this potent collage of stories, essays, and testimony, Red makes a stirring case for the preservation of America’s Redrock Wilderness in the canyon country of southern Utah.

As passionate as she is persuasive, Williams writes lyrically about the desert’s power and vulnerability, describing wonders that range from an ancient Puebloan sash of macaw feathers found in Canyonlands National Park to the desert tortoise–an animal that can “teach us the slow art of revolutionary patience” as it extends our notion of kinship with all life. She examines the civil war being waged in the West today over public and private uses of land–an issue that divides even her own family. With grace, humor, and compassionate intelligence, Williams reminds us that the preservation of wildness is not simply a political process but a spiritual one.


“Lush elegies to the wilderness. . . . Earthy, spiritual, evocative.” —The Boston Globe

“Erotic, scientific, literary. . . . Her intimacy with this landscape is complex and passionate.” —Los Angeles Times Book Review

“Her finest writing . . . Use[s] pure language in the face of laws that need to be changed and lawmakers and citizens who need to understand that there is another way to see.” —Portland Oregonian



From the Trade Paperback edition.
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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
Here is Terry Tempest Williams at her best. Sometimes subtly, sometimes emphatically, these delicate and heart-stoppingly lovely essays are offered in service of the wild. This compendium, she writes, "is a gesture and bow to my homeland" -- Utah's Redrock Desert, which, as of the September 2001 publication date, was to be opened up to oil drilling under the Bush/Cheney energy plan.

Yes, Red is nature writing; yes, it is memoir. And it is far, far more: the finest of literature, a new and shimmering philosophy of the sacred, deep ecology rendered as womanly experience. Be prepared to encounter a most unusual eroticism of the wild -- an eroticism that is outspokenly sexual but does not feed on flesh-to-flesh contact. Earth is William's beloved; the imagined and the mystical merge with the real.

Not once, but three times, and in response to distinct essays, I found myself scribbling notes the likes of, "No more elegant and moving support of wilderness has ever been written than this." Like her mentor, Aldo Leopold, Williams is both advocate and activist. This manifesto is neither polemic nor plea. As the subtitle suggests, her advocacy is an unrestrained passion that draws strength from the patience of rocks -- redrock, red hot.

"As we step over the threshold of the twenty-first century," she writes, "let us acknowledge that the preservation of wilderness is not so much a political process as a spiritual one, that the language of law and science used so successfully to define and defend what wilderness has been in the past century must now be fully joined with the language of the heart to illuminate what these lands mean to the future." Terry Tempest Williams does just that, in service of the wild, in service of her cherished Redrock wildlands. (Connie Barlow)

Publishers Weekly
Shaped by wind, heat and the etchings of rare water, the deserts of the American West are at the heart of Williams's numerous writings on the need to preserve wilderness (Leap; Refuge). This new collection of writings (some of which have been published before) is inspired by her daily experiences with the Southwestern desert, Anasazi petroglyphs and small shifts in time at her home outside Moab, Utah. Contributing to the movement to protect these fragile landscapes, she encourages her readers to consider the desert as a threatened national commons, drawing in the life around her to express just how the desert inhabits her and makes her more human. Included here are two of the works that have defined Williams as a central voice in the environmental movement: "Desert Quartet," which is made up of simple and erotic personal essays, and "Coyote's Canyon," comprised of the lovely tales of desert people. To these she adds pieces that center on her move out of Salt Lake City, her study of the meanings of the color red and, most importantly, the imperative to create national protection for land that cannot protect itself from each step of development and population growth. Although there are repetitions between the sections and at times Williams sounds desperate, the collection resonates with an inspiring and convincing devotion that cannot be set aside. (Sept. 19.) Copyright 2001 Cahners Business Information.
KLIATT
The red rock country of the Southwest, with its baroque landscapes and arid climate, incites a passionate response in many visitors. Terry Tempest Williams, a Utah native, has this land in her blood, heart, and soul. This compilation of short pieces communicates to the rest of us the unique value of this land and, despite its harsh and unforgiving aspects, its tender fragility. The last time the Four Corners was in the national news, President Clinton declared the Grand Staircase-Escalante Wilderness a national monument, to howls of protest from groups who wanted the land available for uses other than recreation and preservation. One of the purposes of the current book is to promote the preservation of a much wider swath of slick rock country across southern Utah. Although the book includes the text of the proposed act of Congress and the addresses of almost two dozen advocacy groups, the heart of Williams's approach is personal, idiosyncratic, and, as she emphasizes, erotic. She loves this land whose wildness puts her in touch with her most primal nature. To involve us in the land, she shares Coyote stories from Native American tradition, incidents from her own life, and appreciations of older writers on the environment, especially Mary Austin, author of The Land of Little Rain (1903), and Aldo Leopold, author of Sand County Almanac (1943). But the heart of the book is the ecstatic, ruminative, urgent appreciations of the land she knows so well. For readers who know the red rock country, her words will spark visual and visceral memories. For those not familiar with the place, Williams hopes to engender a longing to preserve it for future generations. KLIATT Codes: SA—Recommended forsenior high school students, advanced students, and adults. 2001, Random House, Vintage, 271p. map., Healy
Library Journal
Williams is at her best as a storyteller and nature writer in this plea for preservation of the Redrock Desert and canyon area of southern Utah. An award-winning author (Leap, Refuge) and passionate wilderness advocate, Williams invites readers into a stark landscape, lush with color, through stories, essays, and congressional testimony. She challenges America's short-sightedness on land use, suggesting that people exercise restraint or, as she quotes Aldo Leopold, practice intellectual humility. We must realize that not every place should be developed and understand what is lost when we destroy the "wide open vistas that sustain our souls, the depth of silence that pushes us toward sanity." She explores the erotic side of nature, that which awakens our capacity to love, and sees our determination to control nature as a reluctance to touch our creative forces and to engage our souls. An appendix with the proposed Redrock Wilderness Act, a map, and a list of supporting organizations is included. Last year's T.H. Watkins's The Redrock Chronicles also discusses the environmental dilemma, providing photos of the places mentioned here. Moving and provocative, Williams's compact book is essential for nature collections; also recommended for general collections. [Previewed in Prepub Alert, LJ 5/15/01; this work contains Williams's Coyote's Canyon and Desert Quartet in their entirety. Ed.] Maureen J. Delaney-Lehman, Lake Superior State Univ., Sault Ste. Marie, MI Copyright 2001 Cahners Business Information.
Kirkus Reviews
From naturalist Williams (An Unspoken Hunger, 1994, etc.), a powerful and lyrical collection ranging from sudden pieces of fiction and hip-shooting creative nonfictions to manifestos and eroticism, all taking their cues from the American Southwestern deserts. From a tough, sere, minimal place, Williams offers these testimonial, protective essays. The desert has undone her, she has sung its praises long and hard, and here she continues her canon of stories that animate the countryside. As a poet of place she abides, calling on all that restores and redeems in the landscape. It might be an organic dance on a high plateau, or flute music spilling through the night while she camps at the foot of Keet Seel, or an anything-but-simple list of place names: Sewemup Mesa, Box-Death Hollow, Diamond Breaks, Lampstand, Gooseneck. These are creation stories in the sense that they create within the reader a respect for a place. Williams reads character lines in the topography; she experiences the land bodily and slowly. She invites the canyon and wash and mesa right into the family, as ancestral as any great grandmother. She makes it understandable how a desert might conjure feelings of empathy, desire, and humility. Polemical forays, by contrast, are not her strong suit: arguments supporting the protection of place cannot rest on such leaps of faith as a landscape "reminding us through its bloodred grandeur just how essential wild country is to our psychology," or non sequiturs like "it's hard to take yourself very seriously when confronted face-to-face with a mountain lion." (Mortality is, after all, a fairly serious business.) And to say "there's so much land, stretches of land so vast youcannot see it all, certainly not in a lifetime" weirdly echoes antienvironmentalists' notions of infinite resources, endless frontiers. It is heart-gladdening to know that someone of Williams's passionate conviction and transporting prose is striving to protect the redrock.
From the Publisher
“Lush elegies to the wilderness. . . . Earthy, spiritual, evocative.” –The Boston Globe

“Erotic, scientific, literary. . . . Her intimacy with this landscape is complex and passionate.” –Los Angeles Times Book Review

“Her finest writing . . . Use[s] pure language in the face of laws that need to be changed and lawmakers and citizens who need to understand that there is another way to see.” –Portland Oregonian

“Williams is one of the world’s most poetic and daring nature writers.” –Ruminator Review

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Product Details

  • ISBN-13: 9780307559401
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 12/30/2008
  • Sold by: Random House
  • Format: eBook
  • Pages: 288
  • Sales rank: 722,778
  • File size: 2 MB

Meet the Author

Terry Tempest Williams is the author of Refuge, An Unspoken Hunger, and Leap. The recipient of a Guggenheim Fellowship and a Lannan Literary Fellowship in creative nonfiction, she lives with her husband, Brooke Williams, in the redrock desert of Utah.


From the Trade Paperback edition.
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Read an Excerpt

from Chapter 1

Home Work

It is a simple equation: place + people = politics. In the American West, the simplicity becomes complicated very quickly as abstractions of philosophy and rhetoric turn into ground scrimmages--whether it's over cows grazing on public lands, water rights, nuclear waste dumps in the desert, the creation of the Grand Staircase Escalante National Monument, or the designation of wilderness. This territory is not neutral. The redrock desert and canyon country of southern Utah provokes powerful divisive opinions.

How are we to find our way toward conversation?

For me, the answer has always been through story. Story bypasses rhetoric and pierces the heart. Story offers a wash of images and emotion that returns us to our highest and deepest selves, where we remember what it means to be human, living in place with our neighbors.

I came to the stories in Coyote's Canyon through a question: "What stories do we tell that evoke a sense of place?" I had just finished a long inquiry into Navajo oral tradition and had been working on the reservation in various public schools. It was clear to me, both the elders and children alike had deep ties to the land through story. Whether it was Shiprock, Window Rock, or the ruins at Hovenweep, each landform, each significant site, seemed to have a name accompanied by a story. The stories they told animated the country, made the landscape palpable and the people accountable to the health of the land, its creatures, and each other. This is not to romanticize the Dine (as they call themselves), only to voice my profound respect for their intricate and complex cosmology.

How do the stories we tell about ourselves in relationship to place shape our perceptions of place? Is there room for a retelling of our own creation stories, even Genesis?

In the Colorado Plateau--roughly the Four Corners region of Utah, Colorado, New Mexico, and Arizona--I believe we are in the process of creating our own mythology, a mythology born out of this spare, raw, broken country, so frightfully true, complex, and elegant in its searing simplicity of form. You cannot help but be undone by its sensibility and light, nothing extra. Before the stillness of sandstone cliffs, you stand still, equally bare.

These redrock canyons in southern Utah are an acquired taste. They are short on water and, as a result, short on green. Green recalls pastoral comfort, provides a resting place for the eyes. There are moments when I long for the canopy and cover of a forest to hide in, to breathe in, to breathe with, and delight in the growing shades and patterns of green. I never forget I inhabit the desert, the harsh, brutal beauty of skin and bones.

Although we have mountains here of extraordinary stature and elevations--the LaSals in particular, rising to twelve thousand feet--the high points of excursions into the Colorado Plateau are usually points of descent. Down canyons. Down rivers. Down washes left dry, scoured, and sculpted by sporadic flash floods.

It's tough country to visit. It's even tougher country to live in. So powerful is the sun in summer, one adopts a perpetual squint. Summer can bring biblical periods of forty days of heat well over one hundred degrees, reducing you to a lizard state of mind, no thought and very little action. You sleep more and you dream. It is a landscape of extremes. You learn sooner or later to find an equilibrium within yourself; otherwise, you move.

Desert as teacher.

Desert as mirage.

Desert as illusion, largely our own.

What you come to see on the surface is not what you come to know. Emptiness in the desert is the fullness of space, a fullness of space that eliminates time. The desert is time, exposed time, geologic time. One needs time in the desert to see.

As the world becomes more crowded and corroded by consumption and capitalism, this landscape of minimalism will take on greater significance, reminding us through its bloodred grandeur just how essential wild country is to our psychology, how precious the desert is to the soul of America.

These lands have been here for millions of years, and they will certainly outlast us by another million years or more. But they will not remain ecologically intact without our vigilance, without our willingness to protect what is wild.

Those of us who live here know the heartbreak of loss. Since the construction of the Glen Canyon Dam, which shunted the flow of the Colorado River on its way toward the Grand Canyon in the 1950s, as residents of the Desert West, we have learned wildness cannot be taken for granted. It's not just the loss of a "playground" or a place of recreation, as many opponents would argue; it's the fundamental loss of natural systems, free-flowing rivers, rock art pecked and painted into stone by the hands of the Ancient Ones a thousand years ago. It is the drowning of a way of life, the death of natural communities that are much older, and perhaps wiser, than those of our own species.

Most lands in the American West are public lands, a commons if you will, held inside a national trust: national forests, Bureau of Land Management lands, national parks, monuments, and refuges. Only a small portion of our lands are privately owned, 22 percent in the state of Utah. Our character is shaped by the rugged truth of indifference--mountain ranges and arid basins, sagebrush oceans, grasslands, high deserts and plateaus, wild and raging rivers. It's hard to take yourself very seriously when confronted face-to-face with a mountain lion or the reality of no water in the desert. There's so much land, stretches of land so vast you cannot see it all at once, certainly not in a lifetime. We stand under the canopy of stars and are flushed with humility, stars no longer seen by most as they are erased by urban life.

The region of the American West shares common ground with the South: each has found its voice in loss. The South was forever shaped by the Civil War, and today we in the West are in the midst of our own. It is not a battle over issues of slavery. It is a battle over public and private uses of land, what will be developed and what will remain sovereign. Guns are replaced by metaphorical monkey wrenches and shovels.

In November 1999 the watchdog group Public Employees for Environmental Responsibility issued a report saying, "beatings, bombings, death threats, and other incidents against federal resource employees, largely in the West, have been steadily rising since 1995." Audubon reported in their January?February 2000 issue that "In 1998 there were almost 100 incidents in which the personnel or buildings of the U.S. Forest Service, Bureau of Land Management, and other agencies were targets of physical attack, destruction, or a direct threat of violence."

Hostilities became so great in Elko County, Nevada, that Gloria Flora resigned as supervisor of the Humboldt?Toiyabe National Forest in Nevada, the largest national forest in the lower forty-eight. She feared for the safety of her employees and wanted to shed light on the abuses. A rising star in the Forest Service, she left her post in protest in November, 1999.

In an attempt to rescue the last viable population of bull trout from extinction, Flora moved to permanently close a dirt road that had been washed out in a flood. This created a firestorm among ranchers in the community, who vowed to bulldoze a new road--one that biologists said would be detrimental to the trout. Only after a federal judge intervened with a last-minute restraining order did the locals retreat from scraping out a new road.

But the next generation of Sagebrush Rebels have not given up. On July 4, 2000, hundreds of protestors from around the West gathered in Elko to form "the Jarbidge Shovel Brigade," yet another action to defy the U.S. Forest Service. With shovels in hand, they were determined to open the Bull Trout road, now more symbolic than real. "We will rebuild the road, come hell or high water," declared Tony Lesperance, an Elko County commissioner. Following the action was a parade designed to fuel the passions of those who not only distrust the federal government but despise it for interfering in their backyard, complete with a float bearing a tombstone that read "U.S. Forest Service."

The second section of Red focuses on the idea of wildness and specifically the wilderness of southern Utah. I have added to this mix of essays, congressional testimony, newspaper clippings, and journal entries, to create both a chronology and collage for the reader, to feel the swell of a community trying to speak on behalf of wild places that are threatened by development or legislation in the United States Congress. In 1995 Representative James V. Hansen (R-Utah) and Senator Orrin Hatch (R-Utah) introduced the Utah Public Lands Management Act, which would have designated 1.7 million acres as wilderness out of 22 million acres of BLM lands. That bill was defeated in 1996 in the United States Senate.

Six months later President Clinton, on the rim of the Grand Canyon, created the Grand Staircase?Escalante National Monument through the authority of the 1906 Antiquities Act, setting aside for future posterity almost two million acres of wildlands. There are people in the state of Utah who are still infuriated by that gesture, protesting that folks in rural Utah had no voice in the process. And threats continue to be made by Republican leaders such as Dick Cheney to overturn the decision. It was no different sixty years ago, in Jackson Hole, Wyoming, when the Grand Teton National Monument was established. Federal control in the American West remains an open wound.

With the election of George W. Bush as president of the United States, Gale Norton as the secretary of interior (a protege of former secretary of interior James Watt under the Reagan administration), and Representative Jim Hansen from Utah as the powerful chairman of the Natural Resources Committee, there will be no dearth of creative and cutthroat attempts to undermine and undo much of Clinton's environmental legacy, such as the Grand Staircase-Escalante National Monument in Utah and the National Forest Roadless Area Conservation Rule that protects nearly sixty million acres of national forest in thirty-eight states, including the Tongass in southeast Alaska.

In an eight-page letter sent to President-elect Bush on December 27, 2000, Congressman Hansen wrote: "After many years of being frustrated by the Clinton administration's unreasoned and frequently absurd interpretation of law and congressional intent, I am elated at finally having the opportunity to work with your administration to correct the misguided direction the Clinton administration has taken in their attempt to manage our natural resources."

According to the January 4, 2001, issue of the Washington Post, suggestions outlined in Hansen's letter included "everything from relaxing restrictions on snowmobile use in some national parks to removing some of the national monument designations the president had given public lands in recent years."

I believe Aldo Leopold was correct when he wrote in A Sand County Almanac in 1949:

No important change in ethics was ever accomplished without an internal change in our intellectual emphasis, loyalties, affections, and convictions. The proof that conservation has not yet touched these foundations of conduct lies in the fact that philosophy and religion have not yet heard of it. In our attempt to make conservation easy, we have made it trivial.

As an American writer, I have found no subject to be as intellectually challenging as writing about wilderness. How can I convey the scale and power of these big wide-open lands to those who have never seen them, let alone to those who have? How can I learn to write out of my own experience, out of my deep love for wild country, while still maintaining a language that opens minds rather than closes them? How to write again and again from every conceivable angle to stay the hand of development? How to write as clearly as one can from the heart and still be credible?

In the middle of the Utah wilderness campaign in 1996, Mary Page Stegner sent some inspiriting words by her late husband, Wallace Stegner, about why paving the Burr Trail outside Capitol Reef National Park was a wrong-headed idea:

Why? So people coming up dammed Glen Canyon in power boats can get out of the water and make it more easily from ramp to ramp. And anyone on the fringes of that lovely stone wilderness will hear their motors ten, fifteen, twenty miles away across the garbed stone, reverberating off the Kaiparowits Cliffs, ricocheting off the Waterpocket Fold.

As there has been nothing to interrupt the silence in this desert, so there is nothing to break the view of watercourses, of cliff lines and gulch and bare bald heads and domes, so there will be nothing to intercept the view of cut and fill highway.

This road as proposed by the Utah highway commission, would be a tragedy, the dimmest of "wilderness breaking." Poverty program, public works? Yes--poverty of intelligence, poverty of imagination, poverty of sensibility. And a greater poverty for Utah's future, once that last wilderness is split, shattered, and brought down to size...

From the Hardcover edition.

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Sort by: Showing 1 – 4 of 3 Customer Reviews
  • Anonymous

    Posted November 27, 2006

    I wish this had been edited.

    This is one of the few books I have ever read that I disliked. William's writing style is gratingly simplistic, and rather than coming across as a book appropriate for all age levels, this seems to be a book dumbed down for an elementary school level.Sentence structure was thrown out the window, but Williams is no Faulkner. Often, it seems she uses fragments more often than she does full sentences. 'Native tongue,' reads one. Occasionally, Williams throws out a poem to break the monotony of her choppy writing, but these are also disappointing. More fragmented sentences, this time artistically arranged into the shape of a plateau, for example. Williams love of creative text leads her to italicize sentences (or parts of them) that she feels need emphasis. Instead of lending some air of credibility to her writing, this merely makes her sound more like an 8th grade student reading a dramatic monologue aloud. Occasionally, your eye will be caught by a complete sentence or a clear writing style, but this is invariably a quote from another author or environmental expert. Overall, the stories and information conveyed in this book may well be moving, but I couldn't see past the grammar.

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  • Anonymous

    Posted August 19, 2004

    Forget this

    Hey, I found myself skipping paragraphs, then pages, then rifling through the book trying to find something worth reading. Forget this one. Try reading 'Refuge'.

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  • Anonymous

    Posted January 12, 2010

    No text was provided for this review.

  • Anonymous

    Posted October 22, 2010

    No text was provided for this review.

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