A TODAY Show #ReadWithJenna December 2019 Book Club Pick
Named a "Best Book of the Year" by New Statesman, New York Public Library, Chicago Public Library, and Washington Independent Review of Books
Southern Book Prize Finalist
An O, the Oprah Magazine July 2019 Pick
A Publishers Weekly "Pick of the Week"
An Indie Next Selection for July 2019
An Indies Introduce Selection for Summer/Fall 2019
A 2019 Okra Pick
From New York Times opinion writer Margaret Renkl comes an unusual, captivating portrait of a familyand of the cycles of joy and grief that inscribe human lives within the natural world.
Growing up in Alabama, Renkl was a devoted reader, an explorer of riverbeds and red-dirt roads, and a fiercely loved daughter. Here, in brief essays, she traces a tender and honest portrait of her complicated parentsher exuberant, creative mother; her steady, supportive fatherand of the bittersweet moments that accompany a child’s transition to caregiver.
And here, braided into the overall narrative, Renkl offers observations on the world surrounding her suburban Nashville home. Ringing with rapture and heartache, these essays convey the dignity of bluebirds and rat snakes, monarch butterflies and native bees. As these two threads haunt and harmonize with each other, Renkl suggests that there is astonishment to be found in common things: in what seems ordinary, in what we all share. For in both worldsthe natural one and our own“the shadow side of love is always loss, and grief is only love’s own twin.”
Gorgeously illustrated by the author’s brother, Billy Renkl, Late Migrations is an assured and memorable debut.
|Product dimensions:||5.40(w) x 8.60(h) x 1.00(d)|
About the Author
Margaret Renkl is a contributing opinion writer for The New York Times, where her essays appear weekly. Her work has also appeared in Guernica, Literary Hub, Proximity, and River Teeth, among others. She was the founding editor of Chapter 16, the daily literary publication of Humanities Tennessee, and is a graduate of Auburn University and the University of South Carolina. She lives in Nashville.
Read an Excerpt
I went to a land-grant university, a rural school that students at the rival institution dismissed as a cow college, though I was a junior before I ever saw a single cow there. For someone who had spent her childhood almost entirely outdoors, my college life was unacceptably enclosed. Every day I followed the same brick path from crowded dorm to crowded class to crowded office to rowded cafeteria, and then back to the dorm again. A gentler terrain of fields and ponds and piney woods existed less than a mile from the liberal arts high-rise, but I had no time for idle exploring, for poking about in the scaled-down universe where forestry and agriculture students learned their trade.
One afternoon late in the fall of my junior year, I broke. I had stopped at the cafeteria to grab a sandwich before the dinner crowd hit, hoping for a few minutes of quiet in which to read my literature assignment, the poems of Gerard Manley Hopkins, before my evening shift at the dorm desk. But even with few students present, there was nothing resembling quiet in that cavernous room. The loudspeaker blasted John Cougar’s ditty about Jack and Diane, and I pressed my fingers into my ears and hunched low over my book. The sound of my own urgent blood thumping through my veins quarreled with the magnificent sprung rhythm of the poem as thoroughly as Jack and Diane did, and I finally snapped the book closed. My heart was still pounding as I stepped into the dorm lobby, ditched my pack, and started walking. I was headed out.
It was a delight to be moving, to feel my body expanding into the larger gestures of the outdoors. What a relief to feel my walk lengthening into a stride and my lungs taking in air by the gulp. I kept walkingpast the football stadium, past the sororitiesuntil I came to the red dirt lanes of the agriculture program’s experimental fields. Brindled cows turned their unsurprised faces toward me in pastures dotted with hay bales that looked like giant spools of golden thread. The empty bluebird boxes nailed to the fence posts were shining in the slanted light. A red-tailed hawkthe only kind I could nameglided past, calling into the sky.
I caught my breath and walked on, with a rising sense that glory was all around me. Only at twilight can an ordinary mortal walk in light and dark at oncefeet plodding through night, eyes turned up toward bright day. It is a glimpse into eternity, that bewildering notion of endless time, where light and dark exist simultaneously.
When the fields gave way to the experimental forest, the wind had picked up, and dogwood leaves were lifting and falling in the light. There are few sights lovelier than leaves being carried on wind. Though that sight was surely common on the campus quad, I had somehow failed to register it. And the swifts wheeling in the sky as evening came onthey would be visible to anyone standing on the sidewalk outside Haley Center, yet I had missed them, too.
There, in that forest, I heard the sound of trees giving themselves over to night. Long after I turned in my paper on Hopkins, long after I was gone myself, this goldengrove unleaving would be releasing its bounty to the wind.
I thought I had escaped the beautiful, benighted South for good when I left Alabama for graduate school in Philadelphia in 1984, though now I can’t imagine how this delusion ever took root. At the age of twenty-two, I had never set foot any farther north than Chattanooga, Tennessee. By the time I got to Philadelphia, I was so poorly traveledand so geographically illiterateI could not pick out the state of Pennsylvania on an unlabeled weather map on the evening news.
I can’t even say why I thought I should get a doctorate in English. The questions that occupy scholarsdetails of textuality, previously unnoted formative influences, nuances of historical contextheld no interest for me. Why hadn’t I applied to writing programs instead? Some vague idea about employability, maybe.
When I tell people, if it ever comes up, that I once spent a semester in Philadelphia, a knot instantly forms in the back of my throat, a reminder across thirty years of the panic and despair I felt with every step I took on those grimy sidewalks, with every breath of that heavy, exhaust-burdened air. I had moved into a walkup on a main artery of West Philly, and I lay awake that first sweltering night with the windows open to catch what passed for a breeze, waiting for the sounds of traffic to die down. They never did. All night long, the gears of delivery trucks ground at the traffic light on the corner; four floors down, strangers muttered and swore in the darkness.
Everywhere in the City of Brotherly Love were metaphors for my own dislocation: a homeless woman squatting in the grocery store parking lot, indifferent to the puddle spreading below her; the sparrows and pigeons, all sepia and brown, that replaced the scolding blue jays and scarlet cardinals I’d left behind; even deep snow, which all my life I had longed to see, was flecked with soot when it finally arrived. I was so homesick for the natural world that I tamed a mouse who lived in my wall, carefully placing stale Cheetos on the floor beyond me, just to feel the creature’s delicate feet skittering across my own bare toes.
If I was misplaced in the city, sick with longing for the hidebound landscape I had just stomped away from, shaking its caked red dirt from my sandals, oh, how much more disrupted I felt in my actual classes. The dead languages I was studyingOld English and Latinwere more relevant to my notions of literature than anything I heard in the literary theory course. The aim of the course, at least so far as I could discern it, was to liberate literature from both authorial intent and any claim of independent meaning achieved by close reading. “The text can’t mean anything independent of the reader,” the professor, a luminary of the field, announced. “Even the word
‘mean’ doesn’t mean anything.”
To a person who has wanted since the age of fourteen to be a poet, a classroom in which all the words of the English language have been made bereft of the power to create meaning, or at least a meaning that can be reliably communicated to others, is not a natural home. I was young, both fearful and arrogant, and perhaps I had been praised too often for an inclination to argue on behalf of a cause.
“The word ‘mean’ doesn’t mean anything”these were fighting words to me. I raised my hand. “Pretend we’re in the library, and you’re standing on a ladder above me, eye-level with a shelf that holds King Lear and Jane Fonda’s Workout Book,” I said, red-faced and stammering, sounding far less assured than I felt. “If I say, ‘Hand me down that tragedy,’ which book do you reach for?”
The other students in the class, young scholars already versed in the fundamental ideas behind post-structuralist literary theories, must have thought they were listening to Elly May Clampett. They laughed out loud. I never raised my hand again.
Once, not long after I arrived in Philadelphia, a thundering car crash splintered the relative calm of a Sunday afternoon outside my apartment, and the building emptied itself onto the sidewalk as everyone came out to see what happened. I’m not speaking in metaphors when I say that my neighbors were surely as lost as I was: mostly immigrants from somewhere much farther away than Alabama, they couldn’t communicate with each other or with menot because we couldn’t agree on the meaning of the words, but because none of the words we knew belonged to the same language.
Winter break came so early in December that it made no sense to go home for Thanksgiving, no matter how homesick I was. But as the dark nights grew longer and the cold winds blew colder, I wavered. Was it too late? Could I still change my mind?
It was too late. Of course. It was far, far too late. And I had papers to write. I had papers to grade. Also, I had no car, and forget booking a plane ticket so close to the holiday, even if I’d had money to spare for a plane ticket, which on a graduate student’s stipend I definitely did not. Amtrak was sold out, and the long, long bus ride seemed too daunting. I would be spending
Thanksgiving in Philadelphia, a thousand miles from home.
“I don’t think I can stand it here,” I said during the weekly call to my parents that Sunday. “I don’t know if I can do this.”
“Just come home,” my father said.
“It’s too late.” I was crying by then. “It’s way too late.”
“You can always come home, Sweet,” he said. “Even if you marry a bastard, you can always leave him and come on home.”
My father intended no irony in making this point. He had never read Thomas Wolfemight never have heard of Thomas Wolfe. These were words of loving reassurance from a parent to his child, a reminder that as long as he and my mother were alive, there would always be a place in the world for me, a place where I would always belong, even if I didn’t always believe I belonged there.
But I wonder now, decades later, if my father’s words were more than a reminder of my everlasting place in the family. I wonder now if they were also an expression of his own longing for the days when all his chicks were still in the nest, when the circle was still closed and the family that he and my mother had made was complete. I was the first child to leave home, but I had given no thought to my parents’ own loneliness as they pulled away from the curb in front of my apartment in Philadelphia, an empty U-Haul rattling behind Dad’s ancient panel van, for the long drive back to Alabama without me.
I gave no thought to it then, but I think of it all the time now. I think of my father’s words across a bad landline connection in 1984 that reached my homesick heart in cold Philadelphia. I think of the twenty-six-hour bus ride into the heart of Greyhound darkness that followed, a desperate journey that got me home in time for the squash casserole and the cranberry relish. I think most of my own happiness, of all the years with a good man and the family we have made together and the absorbing workeverything that followed a single season of loss, and only because I listened to my father. Because I came home.
Pulling at the heartstrings that bind life together. Seamlessly weaving between the nature of family and the nature found in your backyard.
Brandenburg Concerto No. 1 in F Major was mentioned in an essay about a dying English teacher and so I pulled it up on YouTube and listened as I read, impressed by the teacher’s passion and dedication. I finished the book at the very moment Concerto No. 2 came to a close- a perfectly formulated ending to a book so beautiful that I debated not writing about it. There is absolutely nothing I can say, nothing you can read on this blog, that can properly provide evidence to support the fact that this book is absolute perfection. I have always believed that experiencing loss causes one to fully embrace life. Those around you who seem to have the most joy, have likely encountered deep pain. That is what makes you go big or go home, take risks, live fully, love deeply, and breathe it all in. It may also be what frequently gets me labeled “old soul”. Late Migrations by Margaret Renkl was written by a woman who approaches life from an incredible perspective that takes into account the fullness of life. "The cycle of life might as well be called the cycle of death…" The chapters alternate between family stories and retreats into nature, with deep connection between the two. If you were touched by Mary Oliver’s Upstream, I think you’ll find value in this one too!
From NYT opinion writer Margaret Renkel comes the most luscious and unique portrait of a family, how it’s touched by love and loss, and also nature. Growing up in Alabama, Margaret was a devoted reader, an explorer of riverbeds and red-dirt roads, and a fiercely loved daughter. Here, in LATE MIGRATIONS (Milkweed Editions, July 2019) in brief essays, she traces a tender and honest portrait of her complicated parents—her exuberant, creative mother; her steady, supportive father—and of the bittersweet moments that accompany a child’s transition to caregiver. Braided into the overall narrative, she offers observations on the world surrounding her suburban Nashville home. There’s love and heartache, detailed and gorgeous descriptions of nests, wings, red-tailed hawks, fluffy bunny fur, even snakes and orb spiders, bees, ladybugs, more. These two threads–the human connection and the animal world–haunt and harmonize with each other. The implication: an air astonishment in common things. I was in awe with this book–which is not your typical, start-to-finish read–but rather a meandering stroll through the woods, through the lens of life and loss, love, and pain. You might be tempted to read LATE MIGRATIONS (Milkweed Editions, July 2019) in one sitting–but don’t. The passages are short but densely layered with meaning, with imagery, and is best digested in small sections.LATE MIGRATIONS is the kind of read that encourages me to look at my own family history, to find the deeper meaning in vignettes of oral history, and also, it inspired me to write. Gorgeously illustrated by the author’s brother, Billy Renkl, LATE MIGRATIONS is an assured and memorable debut. I'm trying to think of suitable comps to LATE MIGRATIONS, and struggling a bit--mostly because it's so ravishingly different than anything I've read before...maybe something by Rachel Carson meets Richard Powers with a touch of THE HIDDEN LIFE OF TREES (Peter Woholleben). L.Lindsay|Always with a Book