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" And we were taught to play golf. Golf epitomizes the tame world. On a golf course nature is neutered. The grass is clean, a lawn laundry that wipes away the mud, the insect, the bramble, nettle and thistle, an Eezy-wipe lawn where nothing of life, dirty and glorious, remains. Golf turns outdoors into indoors, a prefab mat of stultified grass, processed, pesticided, herbicided, the pseudo-green of formica sterility. Here, the grass is not singing. The wind cannot blow through it. Dumb expression, greenery made stupid, it hums a bland monotone in the key of the mono-minded. No word is emptier than a golf tee. No roots, it has no known etymology, it is verbal nail polish. Worldwide, golf is an arch act of enclosure, a commons fenced and subdued for the wealthy, trampling serf and seedling. The enemy of wildness, it is a demonstration of the absolute dominion of man over wild nature. "
― Jay Griffiths , Wild: An Elemental Journey
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" The wild. I have drunk it, deep and raw, and heard it's primal, unforgettable roar. We know it in our dreams, when our mind is off the leash, running wild. 'Outwardly, the equivalent of the unconscious is the wilderness: both of these terms meet, one step even further on, as one,' wrote Gary Snyder. 'It is in vain to dream of a wildness distinct from ourselves. There is none such,' wrote Thoreau. 'It is the bog in our brains and bowls, the primitive vigor of Nature in us, that inspires the dream.'
And as dreams are essential to the psyche, wildness is to life.
We are animal in our blood and in our skin. We were not born for pavements and escalators but for thunder and mud. More. We are animal not only in body but in spirit. Our minds are the minds of wild animals. Artists, who remember their wildness better than most, are animal artists, lifting their heads to sniff a quick wild scent in the air, and they know it unmistakably, they know the tug of wildness to be followed through your life is buckled by that strange and absolute obedience. ('You must have chaos in your soul to give birth to a dancing star,' wrote Nietzsche.) Children know it as magic and timeless play. Shamans of all sorts and inveterate misbehavers know it; those who cannot trammel themselves into a sensible job and life in the suburbs know it.
What is wild cannot be bought or sold, borrowed or copied. It is. Unmistakeable, unforgettable, unshamable, elemental as earth and ice, water, fire and air, a quitessence, pure spirit, resolving into no contituents. Don't waste your wildness: it is precious and necessary. "
― Jay Griffiths , Wild: An Elemental Journey
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" What is wild cannot be bought or sold, borrowed or copied. It is. Unmistakable, unforgettable, unshakable, elemental as earth and ice, water, fire and air, a quintessence, pure spirit, resolving into no constituents. Don't waste your wildness: it is precious and necessary. "
― Jay Griffiths , Wild: An Elemental Journey
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" Every generation of children instinctively nests itself in nature, no matter matter how tiny a scrap of it they can grasp. In a tale of one city child, the poet Audre Lord remembers picking tufts of grass which crept up through the paving stones in New York City and giving them as bouquets to her mother. It is a tale of two necessities. The grass must grow, no matter the concrete suppressing it. The child must find her way to the green, no matter the edifice which would crush it.
"The Maori word for placenta is the same word for land, so at birth the placenta is buried, put back in the mothering earth. A Hindu baby may receive the sun-showing rite surya-darsana when, with conch shells ringing to the skies, the child is introduced to the sun. A newborn child of the Tonga people 'meets' the moon, dipped in the ocean of Kosi Bay in KwaZulu-Natal. Among some of the tribes of India, the qualities of different aspects of nature are invoked to bless the child, so he or she may have the characteristics of earth, sky and wind, of birds and animals, right down to the earthworm. Nothing is unbelonging to the child.
"'My oldest memories have the flavor of earth,' wrote Frederico García Lorca. In the traditions of the Australian deserts, even from its time in the womb, the baby is catscradled in kinship with the world. Born into a sandy hollow, it is cleaned with sand and 'smoked' by fire, and everything -- insects, birds, plants, and animals -- is named to the child, who is told not only what everything is called but also the relationship between the child and each creature. Story and song weave the child into the subtle world of the Dreaming, the nested knowledge of how the child belongs.
"The threads which tie the child to the land include its conception site and the significant places of the Dreaming inherited through its parents. Introduced to creatures and land features as to relations, the child is folded into the land, wrapped into country, and the stories press on the child's mind like the making of felt -- soft and often -- storytelling until the feeling of the story of the country is impressed into the landscape of the child's mind.
"That the juggernaut of ants belongs to a child, belligerently following its own trail. That the twitch of an animal's tail is part of a child's own tale or storyline, once and now again. That on the papery bark of a tree may be written the songline of a child's name. That the prickles of a thornbush may have dynamic relevance to conscience. That a damp hollow by the riverbank is not an occasional place to visit but a permanent part of who you are. This is the beginning of belonging, the beginning of love.
"In the art and myth of Indigenous Australia, the Ancestors seeded the country with its children, so the shimmering, pouring, circling, wheeling, spinning land is lit up with them, cartwheeling into life....
"The human heart's love for nature cannot ultimately be concreted over. Like Audre Lord's tufts of grass, will crack apart paving stones to grasp the sun.
Children know they are made of the same stuff as the grass, as Walt Whitman describes nature creating the child who becomes what he sees:
There was a child went forth every day
And the first object he look'd upon, that object he became...
The early lilacs became part of this child...
And the song of the phoebe-bird...
In Australia, people may talk of the child's conception site as the origin of their selfhood and their picture of themselves. As Whitman wrote of the child becoming aspects of the land, so in Northern Queensland a Kunjen elder describes the conception site as 'the home place for your image.' Land can make someone who they are, giving them fragments of themselves. "
― Jay Griffiths , A Country Called Childhood: Children and the Exuberant World
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" My brothers and I spent weeks with our grandparents by the sea where we learned so much more than it may have seemed. Not because we saw an actual shipwreck but because we saw the potential for it. Not because we actually found treasure but because we could feel the immanence of treasure at every seashore... We fished for wishes and caught them; we swam to find mermaids and became them; and we dived for pearls and returned with a stick, a bit of litter, a coin or the makings of a joke. Pearls, in other words. We learned about tides and chance, storms and sun, the vicissitudes of what is lost and found, flotsam and jetsam, castaway luck, islands, sea-songs, rings, riddles and pledges. (page 47) "
― Jay Griffiths , A Country Called Childhood: Children and the Exuberant World
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" For one awful moment, I felt the pure panic of an imminent emergency. And then I stopped. My mind staggered, jolted and was sundered. The screen of my mind froze. Time ceased to pass. One intense present moment. Nothing moved. Nothing could move. I could feel no motion in my psyche and all the usual easy fluency of thoughts streaming into each other, confluent waterful, was slung into reverse. It was the silent onset of sheer dread. It was like the terrible sucking back of the oceans just before a tsunami crashes to the shore; the frightening in-breath before the storm-surge roars inland. The sky was going to fall through the sea, the clouds would smash on impact like glass, and the great pale sheet of a dead white sky, motionless, frozen and unbroken, would lie noiseless at the bottom of the ocean. "
― Jay Griffiths , Tristimania: A Diary of Manic Depression
