William Least Heat-Moon

Nikawa’s Voyage From Coast to Coast

William Least Heat-Moon (the pen name for William Lewis Trogdon, hereafter WLHM), continues to impress me with his nuanced vision of the United States. He consistently offers his readers a synthesis of well-crafted writing, an appreciation for the sometimes hidden beauty of the lands and waters he explores, and a sensitivity to features of our common humanity latent within the historical events attendant to the people and places he visits. I return from time to time to his book, River Horse: A Voyage Across America, a book I love for its clear-eyed record of his water-based journey across this country. On a 26’ C-Dory motor cruiser, and accompanied by several friends whose roles are represented by symbolic monickers (e.g., Pilotis, and ‘the Photographer’), he traces a voyage from the mouth of New York Harbor to that of the Columbia River in Oregon. Readers familiar with geography but new to this book will wonder how WLHM managed to cross the Continental Divide in the C-Dory, and will discover that the author and his friends’ passage was facilitated by a vehicle trailer around some portage points, and by a canoe through and over the western mountains at their highest points.

Nikawa on her trailer, with the handy canoe secured above the pilothouse

WLHM periodically uses unfamiliar vocabulary in a way that may strike some readers as pretentious, but which I generally find apt and instructive. Clearly, he savors words as much as the sights he seeks to capture through his writing. His evident identification with the sentiments expressed in quotations from earlier journals and public documents, and the care with which he treats them regarding the places he visits, tells us a lot about the author.

This is the kind of book that boaters who have a yen for nautical adventure will love. As I do for his other published work, I have a high regard for what WLHM has accomplished with this travel narrative. He has filled it with insight concerning not only geographical terrain, but also with pertinent observations about the people he meets, who interact with or are sometimes indifferent to the beauty he encounters along his passage. As an able and informed observer, the author communicates much about what he sees as well as about its potential significance for others who might come along after him. His book is shaped by his dialogue with the recorded experience of those who have traversed the same waterways and their surroundings before him, as well as by contemporaries familiar with the same areas. By this means, WLHM draws readers in to his own reflective experience. He invites us ‘to look over his shoulder’ and then journey with him through the captivating but also sometimes less than encouraging features of where he goes. To this point, in his expressed appreciation for numerous rivers negotiated by Nikawa, he does not overlook reporting on the accumulated plastic debris that by the mid 1990’s had already collected in certain pockets of at least one river. He then offers brief but also judicious comments with respect to potential remedies for public attitudes about the waters that border our towns and rural lands.

The author and his boat, observed during his voyage (evidently from a newspaper photo)

Aside from his absorbing description of the commencement of his voyage, which effectively draws the reader into his narrative, several passages in the book linger in my memory. I think of his account of Nikawa’s passage down the relatively gentle Ohio River, which is often calm due to the series of locks and dams. His reflections about the river evoked thoughts of a possible retracing of his pathway through those waters, especially given their occasionally curious personal and historical associations (as in the following vignette). 

In this part of his text, WLHM offers a brief account of an Irishman who was persuaded by Aaron Burr to join a nascent conspiracy to found a new and independent political domain lower down the Ohio and by the Mississippi, a venture later halted by authorities sent under the direction of Thomas Jefferson. This provides a good example of the numerous occasions about which WLHM interweaves observant travelogue with his study of past events. Interspersed within this same portion of the narrative focused on the area around Marietta, the author reports humorous offhand comments gleaned at a diner. After his conversation with a local woman, a beautician named “Enna-mel,” she leaves him with a parting remark that adds spice to the story. 

The author in what may be his second favorite place to be, an historical archives room

Shaping words about the work of an accomplished writer can be hazardous, though I am encouraged by WLHM’s quotation of a portion of William Clark’s Journal from the great 1804-6 expedition to the West. Clark’s struggle to portray the then sublime splendor of the untamed Great Falls of the Missouri River clearly were significant to WLHM. This is evident in the latter writer’s implied recognition of the challenge posed by his own desire to communicate the fullness of his experience of the same waters. 

River Horse is sprinkled with anecdotes from earlier times, along with perceptive observations from William Least Heat-Moon’s journey notes. He well-describes the many rivers through which Nikawa made her way, and almost every page of this book offers detailed insights that will reward an attentive reader, especially those who muse – as I have – about undertaking a similar adventure. 

More on Contrast and Continuity

The School of Athens, and The Disputation of the Holy Sacrament, by Raphael

 

Prompted by an article by William Least Heat-Moon, I reflect once again on two interrelated frescoes by Raphael. On his sometime-ago trip to the Yucatan, Least Heat-Moon was accompanied by his Mayan translator, Berto. There, the author encountered a destroyed Mayan temple. Regarding the temple’s relation to a later Christian cathedral occupying the same site, he quotes his translator.

“Many stones come from a Mayan temple that was long ago on this hill,” [said Berto, who] regretted this destruction. Yet to him, the broken stones imparted an additional dimension to the church because ancient Mayas usually did not destroy an earlier structure, instead building over it to layer meaning and power.

What an insight regarding contrast and continuity.

With that in mind, consider how visitors entering the Vatican Raphael room do so facing the fresco in the lower of the two images above. They behold a painting depicting an altar in a church space, surrounded by the Holy Trinity and famous saints and biblical figures. Turning around in that same space, visitors see the fresco in the upper image. It depicts great persons from the classical world, with Plato and Aristotle in the middle. Tour guides typically present these two paintings, which face each other, in terms of the contrast between them, saying things like: “Here, on this wall, we have the best minds of the pagan world. But, on the opposite wall, we see great saints of the Bible and the Church.”

We can look at these two interrelated paintings in another way. We might also see the continuity between them, even if the content of the two paintings seems rather different. For example, notice how the two frescos are composed with the same elements: similar colors and textures; the same arch over each image; and that the two spaces in which the figures walk or sit may be in the same building. And how the perspective or vanishing point in each painting mirrors that of the other.

Further, visitors who enter this room walk forward in the same direction as do Plato and Aristotle, who therefore share company with their contemporary pilgrims. Together, they and their later newcomers walk forward, approaching an altar surrounded by many saints! As a result, Raphael’s two paintings provide a splendid reflection on the theme of continuity.

Perceiving points of continuity between pre-Christian cultures and central themes in Scripture and in Western Christian theology has historically been more typical of the broader Catholic tradition, which includes not only Roman Catholics but also Anglican as well as some Reformed theologians, poets, and hymn writers. A contrasting parallel is provided by a historic tendency among many Protestant writers, preachers, and theologians, who have stressed a discontinuity not only between a Christian and a pagan view of the world, but often a perceived antithesis between them. This may caution us about making an ‘either/or‘ of what some may perceive as being a ‘both-and.’

Some who commend Celtic spirituality offer a compelling observation about Christian holy places in Ireland. Celtic crosses can often be found in or among pre-Christian places of worship. To the extent that this is so, we discern an openness to perceiving continuity. That is, a continuity between a place previously associated with a pre-Christian form of religion, and a later Christian willingness to pray and worship at the same location. Here, we should note a significant distinction.

Continuity does not imply sameness nor equivalence. There may be similar elements between what was before and what may come after. Such similarities do not obviate the potential newness and difference of what arrives later. Yes, the ‘new’ may bring change by covering over and even by replacing what came before, an approach typically characterizing contrast and discontinuity. Yet, the ‘new’ may bring change positively, by building upon what came before while also including and transforming it. No finer example of this exists than the Pantheon in Rome, also known as Basilica of St. Mary and the Martyrs.

All this has implications not only for the Christian transformation of places but also for how we view the baptismal transformation of people.

 

The images above are of two of Raphael’s paintings, traditionally titled The School of Athens, and The Disputation of the Holy Sacrament. My prior blog post on these paintings may be found here: https://towardbeauty.org/2019/09/28/the-beauty-of-contrast-and-continuity/ . That post is based on my homily for Sunday, September 22, 2019, which can be accessed by clicking here.