Books have always seemed like magical things to me, from when I could barely hold one, through the long years to now. Because of that, and maybe more so because I never saw anyone in my house doing it, I never wrote in books. Even when I bought my books in college, and saw how many people would highlight material or write margin notes, such behavior seems almost sacrilegious to me.
But when I encountered things people wrote in the margins of books—“Not intuitive,” “Good point!” “Will be on test,” I always read them with fascination, particularly notes that were longer, and often that took issue with the author. (It’s always easier to argue with an author in his pages than in his face.)
That’s why when I saw the extensive marginalia (really, end-of-book blank-page marginalia) in Wade Davis’s One River, which my sweetie Alice is reading, I poured over it. That took some doing, and at some points a magnifying glass, because the writing was in a tiny scrawl. I am a person whose handwriting can give you liver failure, so I speak with authority.
The Davis book is nonfiction, its topic exploring the Amazonian rainforest. Why some reader took it upon him or herself to inscribe topics like “My Drug History” in the back of this book was puzzling, but gratifying. And why the writer would mingle “beer” and “coffee” amidst “DMT” and “Magic Mushrooms” was intriguing, but how much volume of drinking “Irish Cream” would cause one to note it as an entry in one’s drug history? And “Speed H20” was beyond any personal abuse of mine.
The most fascinating and extensive list on the pages is the “People I’d like to meet,” Perhaps this dates the writer, or the desired names were aspirational from the scribbler’s other reading, but among the luminaries:
Albert Hoffmann (first synthesized LSD)
He goes from these literary counterculture figures into bands and singers, i.e., The Moody Blues, Van Morrison, The Rolling Stones. But in another column there’s Mort Saul, Debbie Reynolds and Bob Hope, so he’s digging deeper than those tie-dyed 60s years. And there are interesting compositional distances between Margaret Mead and Ann Landers, but they are near each other in this writer’s pantheon.
There’s a “My Reading Record” area near a “Minds I’ve Entered Into…” but the material below that doesn’t seem to list books or minds, but titles of songs and events, like “Hands Across America.”
So, why did this person write these things, and why in this book? Alice is only a short way in, but what she’s said doesn’t indicate that the work is some kind of pantheon of the greats that might prompt such an exercise. Did the marginalist not want to buy a diary? The scribblings remind me a bit of what F. Scott Fitzgerald has the Gatsby character write to himself in his formative years: Rise from bed; dumbbell exercise and wall-scaling; study electricity; work; baseball and sports; practice elocution, poise, and how to attain it; study needed inventions.
Did this writer want to construct lists that told him he was on the right path, had tasted of stimulating minds, was a member in good standing of this coterie? I don’t know, but it made me wonder if I should write such a list.
Oh, there’s also a list titled “Mexico”:
I didn’t see Frida Kahlo on the want-to-meet list, but if the writer included a good deal of food in that packing, they might be able to search for her ghost for a while. I’m not yet tempted to write my own confessions in the back of a book, but I do know Reese’s Peanut Butter Cups would be in my drug history.