She guided her horse through willows and alders and runted birches, leaning and weaving until the brush ended and she broke into the open. She was at the edge of a meadow miles long, not a tree in it except for the wiggling line that marked the course of the Lake Fork. Stirrup-high grass flowed and flawed in the wind, and its motion revealed and hid and revealed again streaks and splashes of flowers--rust of paintbrush, blue of pentstemon, yellow of buttercups, scarlet of gilia, blue-tinged white of columbines. All around, rimming the valley, bare peaks patched with snow looked down from above the scalloped curve of timberline.
All but holding her breath, she pushed into the field of grass. The pony's legs disappeared, his shoulders forced a passage, grass heads and flowers snagged in her stirrup and saddle skirts. The movement around and beneath her was as dizzying as the fast current of the creek had been a moment before. The air was that high blue mountain kind that fizzes in the lungs. Rising in her stirrup to get her face and chest full if it, she gave, as it were, a standing ovation to the rim cut out against the blue. From a thousand places in the grass little gems of unevaporated water winked back at the sun.
Wednesday, July 7, 2010
A Little Scenery
Not often when reading a novel do I marvel at descriptions of scenery; in fact, more often than not I'm bothered by having to read too much about scenery. But Angle of Repose has drawn me in with scenery descriptions. There is a whole chapter dedicated to the descent into a mine that is really great (but way to long to quote here) and this description of a meadow that left me feeling and seeing tall grass all around me:
Subscribe to:
Post Comments (Atom)
3 comments:
What is it about this passage, do you think, that so effectively immersed you in the scenery?
There are a few sentences that just nail it:
Stirrup-high grass flowed and flawed in the wind, and its motion revealed and hid and revealed again streaks and splashes of flowers...
and
The pony's legs disappeared, his shoulders forced a passage, grass heads and flowers snagged in her stirrup and saddle skirts. The movement around and beneath her was as dizzying as the fast current of the creek had been a moment before.
I think the comparison to a creek really did it for me. A light went on there in my head. I also think I've always wanted to step into just such a meadow and so part of me was just like "that's the place I want to be!"
Yeah, I couldn't help but notice how onomatopoetic the scene was: the ffff in flowed and flawed, the ssss in streaks and splashes. These are the sounds a windy meadow makes. The sentences here, too, are as full of words as the meadow is of movement. Almost everything is delivered in compounded couplings: grass heads and flowers, stirrup and saddle skirts. It's a testament to the adage "show don't tell," pounded constantly into young writer's brains that Stegner shows not what the meadow is, but what the meadow does i.e. its rhythmic hiding and revealing, its getting caught in the horse rigging. And yeah, the simile of the creek is good. After all the physical description he punctuates it with a kind of spiritual description -- what the meadow feels like, which is the feeling of being wrapped in a lively flow of water.
Nice passage. With the amount of care Stegner put into it I can tell he liked being in that meadow as much as you did.
Post a Comment