Good Travel Books Are Novels At Heart.

My New City [seattle] And Its Hinterland Felt Deceptively Homely. Their Similar Latitude Gave Them The Angular Light And Lingering Evenings I Was Used To. Their Damp Marine Weather, Blowing In From The Southwest, Came In The Right Direction. When The Mountains Are Hidden Under A Low Sky, One Might Almost Imagine Oneself To Be In Britain.

One Classic American Landscape Haunts All Of American Literature. It Is A Picture Of Eden, Perceived At The Instant Of History When Corruption Has Just Begun To Set It. The Serpent Has Shown His Scaly Head In The Undergrowth. The Apple Gleams On The Tree. The Old Drama Of The Fall Is Ready To Start All Over Again.

Insofar As I Think About Postmodernism At All, And It Doesn't Exactly Keep Me Awake At Nights, I Think Of It As Something That Happens To One, Not A Style One Affects. We're Postmoderns Because We're Not Modernists. The Modernist Writers—pound, Eliot, Joyce, Stevens, Yeats, Woolf, Williams—spoke With A Kind Of Vatic Authority: They Were Really The Last Of The Romantics, For Whom Authorship Itself Was Like Being A Solitary Prophet In The Wasteland.

The [travel] Writer, Looking Back At The Journey From A Distance Of A Year Or Two (or Three), Is A Different Character From The Hapless Character Who Undertook The Trip: Wise After The Event, With The Leisure To Tease Out Meanings From The Experience That The Distracted Traveler Never Had, And Often Impatient With His Alter Ego's Blinkered And Unsatisfactory Version Of Things.

The Only Real River I Knew Was Hardly More Than A Brook. It Spilled Through A Tumbledown Mill At The Bottom Of Our Road, Opened Into A Little Trouty Pool, Then Ran On Through Water Meadows Over Graveled Shallows Into Fakenham [england], Where It Slowed And Deepened, Gathering Strength For The Long Drifts Across Muddy Flatlands To Norwich And The North Sea.