The Cabin without a Clock

Jack and I are fortunate to own a cabin out in the middle of the Tennessee woods. It was my home before graduate school, and the place where Jack and I had our first meal together. So it’s got a lot of history for both of us.DSCN0078

What it doesn’t have is a clock. Electricity, yes; flush toilet, check. Even a nice wood-burning stove. But no Internet access, telephone or clock. Which means once you get out there, you tell time by the sun, or the radio. It’s amazing how quickly this alters perspective. I remember a children’s book, To Walk the Sky Path, about indigenous people in Florida. The young protagonist observes his white teacher at school constantly being directed by the round thing on the wall. He offers to throw a rock at it for her, because it’s clearly bothering her, and she laughs. “How would we know when to do things without a clock?”

Jack and I use the cabin for escape time, and I use it for writing days. Free from clocks on these days, it is startling to identify the depth of their influence on our lives. At the cabin, we get up when it’s light enough to see the pond at the bottom of the hill. We go to bed when we get sleepy. And I write without deadlines of how much (or little) time I can spend on something.

The rhythm of the day rotates as gently and unobserved as the sun. You look up from a chapter and realize your stomach is rumbling, so you eat. Did you have breakfast? Is this lunch? Surprisingly enough, we eat less following this pattern.

If you’re going to take the dogs for a walk, go before dark. In the deep woods, eyes closed or open is almost the same; there literally is no difference inside the house on a dark night.

Life gets simple when you take the clocks away. Unfortunately, it only works for a few days, then you have to calculate your re-entry into society. Like as not, someone is expecting you at a numbered hour. But for those days measured by sunup and sundown, when it’s sleep, write, read, walk, cook and eat and clean up afterward, then sit on the porch watching a flock of turkeys, a herd of deer, or even (once) a bobcat shuffle up the hill on the other side of the pond, time’s measure is simpler, slower, sweeter. And oh so contented.

People have asked if Jack and I rent the cabin out; yes, if we know you or have only one degree of separation. Be warned that it is remote, and has proven too peaceful for some.

THE MONDAY BOOK: The Truth about Lorin Jones, by Alison Lurie

This is an odd book, and a compelling one. It was published in 1988, which I am reliably informed by industry insiders makes it ANCIENT.

But it remains one of my favorite return-to reads. It’s about an art historian named Polly Alter who is writing a biography of painter Lorin Jones. Alter wants Jones to be the victim of male injustice, handled badly by her art-critic husband, suppressed by the glass ceiling, etc. etc. But as she seeks out people who knew Jones, Alter finds more and more complicating factors that remind Alter and the reader that people are never simple, or easy to capture. Or even, sometimes, all that easy to love.

And that’s why I like this book so much – Alter’s trying to capture Lorin Jones, and Lurie is capturing Alter and the other characters (some of whom have appeared in other Lurie novels). I love the way Lurie writes characters; they talk differently from each other; they come from different moral perspectives; their agendas are complicated and shifting and don’t just serve as plot devices. Reading The Truth About Alison Lurie is like diving into a writing workshop about characterization and dialogue.

The ending of this book (no, I won’t put a spoiler in here) remains one of my all-time favorites. Stephen King said about writing that life is ambivalent, so why shouldn’t writing be. But the way Lurie handles ambivalence, with a bit of humor and a great deal of compassion, has stuck with me since high school (when I first read Truth).

It’s a good novel for curling up with on a winter’s day, and it’s a good intro to how Lurie writes. I admit to not liking her other books as well as this one (even her feminist fairy tale collections!) but that’s okay. If this was the only thing she’d ever written, it would have been legacy enough.