What We Are Reading Today: ‘Once More to the Lake'
E.B. White's 1941 essay 'Once More to the Lake' (from his collection 'One Man's Meat') is a masterclass in how nostalgia can warp our grip on time.
Returning to a childhood vacation spot in Maine — now with his son in tow — White confronts a haunting truth: Places outlive people, even as they mirror our mortality.
At its heart, the essay is about doubling. Watching his son fish and swim in the same waters, White slips into a surreal haze torn between seeing himself as father and child. The lake's stillness tricks him into believing nothing has changed — until modernity intrudes.
Those once-quiet mornings? Now punctured by motorboats, their 'restless' engines churning the peace he remembers.
What makes the essay unforgettable is its quiet dread. White's prose drips with tactile details: The 'sweet chill' of a dawn swim, the scent of pine needles and the creak of old rowboats.
But this vividness sharpens the sting of his realization. In the final lines, a sudden rainstorm snaps the illusion. As his son buttons a raincoat, White feels time's verdict: 'Suddenly my groin felt the cold chill of death.'
Stylistically, White avoids grand pronouncements. Instead, he lets small moments — a dragonfly's hover, the click of a fishing rod — carry the weight of existential awe.
Decades later, the essay still resonates. Why? Because we have all clung to a memory-place, willing it to defy time. White's genius lies in showing how that very act binds us to life's fleetingness.
For me, the most haunting takeaway is this: We are all temporary visitors to 'fade-proof' landscapes. The lake remains. We do not.
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21-04-2025
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What We Are Reading Today: ‘Once More to the Lake'
E.B. White's 1941 essay 'Once More to the Lake' (from his collection 'One Man's Meat') is a masterclass in how nostalgia can warp our grip on time. Returning to a childhood vacation spot in Maine — now with his son in tow — White confronts a haunting truth: Places outlive people, even as they mirror our mortality. At its heart, the essay is about doubling. Watching his son fish and swim in the same waters, White slips into a surreal haze torn between seeing himself as father and child. The lake's stillness tricks him into believing nothing has changed — until modernity intrudes. Those once-quiet mornings? Now punctured by motorboats, their 'restless' engines churning the peace he remembers. What makes the essay unforgettable is its quiet dread. White's prose drips with tactile details: The 'sweet chill' of a dawn swim, the scent of pine needles and the creak of old rowboats. But this vividness sharpens the sting of his realization. In the final lines, a sudden rainstorm snaps the illusion. As his son buttons a raincoat, White feels time's verdict: 'Suddenly my groin felt the cold chill of death.' Stylistically, White avoids grand pronouncements. Instead, he lets small moments — a dragonfly's hover, the click of a fishing rod — carry the weight of existential awe. Decades later, the essay still resonates. Why? Because we have all clung to a memory-place, willing it to defy time. White's genius lies in showing how that very act binds us to life's fleetingness. For me, the most haunting takeaway is this: We are all temporary visitors to 'fade-proof' landscapes. The lake remains. We do not.
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