The present ache is not physical, but metaphysical perhaps, meaning that the symptoms are likelier to be furrowed brows and drawn-out silences than anything requiring Ibuprofen. It seems to come, this ache, from an overabundance of existence. Do you know what it means for existence to feel like a burden? Not in a depressive way (though it can go there), but in an overwhelming way—a feeling that’s not really an emotion, yet is still big to the point of restlessness, when all you can do is stare into nondescript places and try not to embarrass yourself by spazzing out in public.
So I drive and stare straight ahead as if wearing blinders, aware of the gray-brown treescape falling away on both sides, but not needing to look at it. All is a soothing, comforting gray. Even the noises are gray. More and more, these days, I want to leave the radio off. Coasting down I-65, I feel, oftener with age, a compulsion to quietness—a need to listen to the road sounds: tires at high speed; the double-knock of wheels over changing pavements; the motor’s quiet roar and the thin, dry clicking of my vents on low. Rounding a curve or banging through a pothole, a loose thing in the back loses footing and topples against the inside of the car, sounding like an animal trapped and pawing for escape.
When I listen like this, I think I’m getting closer to the texture of existence—the part we lose from being on auto-pilot; the part we drown in music or conversation. Listening when there’s not much to listen to: this is a valid way to center oneself. And I’m the type that needs frequent centering.
Flitting, twirling, and fluttering are words used to describe what leaves do in a strong wind. But not only are these terms limited and worn from overuse, they’re a bit dainty. They could just as well describe a ballerina. By contrast, what happens to leaves in November is more violent: the ones still clinging to their branches undergo quite a thrashing.
Yet any alternative description I can muster is either too wordy or inaccurate: thin, dry wafers oscillating on threads (Wafers? that’s not right; oscillating? too grandiose.); medallions spinning and flashing (too clunky and metallic, though a little poetic); ripples baring their pale undersides at lightning speed (awfully wordy and more suggestive of water). But these are leaves I’m talking about! All my metaphors imply something other than leaves. Do you see the challenge here?
Writing creatively about wind in trees is hard. One could zoom out and take in the larger form, describing how a great tree sways: somnambulantly from side-to-side, as if dragged back-and-forth through water; bowing in obeisance to Aeolus, the keeper of the winds. (Bow is a good way to describe what a bough does in a strong wind—wink, wink.) One could toss about words like bluster and gale. But now we’re talking more about wind and less about leaves.
One could try and capture the sound, likening it to the hiss of a hundred streams, sustained in the undulating branches above. But there’s that recourse to water again. Or maybe a host of small pages flapping in the breeze. But do pages suggest leaves?
The dilemma remains . . .
I turned off my radio because I noticed the tips of the trees were already bare in many places. All across their tops the sunlight was catching them in a way that softened them like the bristles of a baby’s hairbrush, except wavier and stretched wide as the land–an earthwide undulation of soft, orange-pink bristles. And I turned the radio off because I wanted to listen to the trees, which is another way of saying I wanted to listen to nothing, because nature doesn’t talk to us: a leaf falls, and we call it an omen. We pick it up; turn it in our hands; roll our mind over its veins and across its papery flesh behind a dry fingertip, searching and searching for meaning, and when the meaning doesn’t come we create it: this is the sacred work of the artist. And aren’t those bristles lovely.