In a sentiment she would echo a decade later in her bittersweet farewell and challenge to posterity, she intimates that such a worldview can make us better stewards of this irreplaceable world - which means, invariably, better stewards of our own survival: If there is poetry in my book about the sea, it is not because I deliberately put it there, but because no one could write truthfully about the sea and leave out the poetry. If they are not there, science cannot create them. If there is wonder and beauty and majesty in them, science will discover these qualities. The winds, the sea, and the moving tides are what they are. It is impossible to understand man without understanding his environment and the forces that have molded him physically and mentally. Science is part of the reality of living it is the what, the how, and the why of everything in our experience. The materials of science are the materials of life itself. We live in a scientific age yet we assume that knowledge of science is the prerogative of only a small number of human beings, isolated and priestlike in their laboratories. Speaking before we discovered the double helix, before we set foot on the Moon, before we heard the sound of spacetime in the collision of two black holes, Carson considers how science invites us to be wonder-smitten by reality, which is the ultimate poetry of existence: 19th-century Solar System quilt by Ellen Harding Baker, embroidered over the course of seven years as a teaching tool in an era when women were barred from higher education in science. And that, I take it, is the aim of literature, whether biography or history or fiction it seems to me, then, that there can be no separate literature of science. The aim of science is to discover and illuminate truth. It is impossible to understand man * without understanding his environment and the forces that have molded him physically and mentally.
Rising from the table she shared with the poet Marianne Moore, Carson took the podium, looked softly, almost shyly, at the audience with her eyes the color of sea water, and spoke with confident composure about the animating ethos of her work: But I do know that Miss Carson writes poetic prose or prose poetry of uncommon beauty. She has placed us as specks in time and yet inheritors of a history older, and certainly deeper, than many of us realized… Where prose ends and poetry begins is sometimes hard to say. Miss Carson made those odd creatures of the sea, those bipeds known as men and women, interested the world over in the mystery of our beginnings and the profundity and beauty of something far greater than mortals, with their petty egotisms and vanities, can hope to know… She has atomized our egos and brought to each reader not only a new humility but a new sense of the inscrutable vastness and interrelation of forces beyond our knowledge or control. Rachel CarsonĪt the ceremony held on January 29, 1952, the drama critic John Mason Brown welcomed Carson to the stage with introductory remarks that captured the unexampled allure of her scientific-artistic sensibility: At the center of her creative cosmogony was a vital symbiosis between literature and science in illuminating the nature of reality - a credo she formulated directly only once, in the acceptance speech, excerpted in Figuring, for the National Book Award her 1951 book The Sea Around Us had earned her: “a work of scientific accuracy presented with poetic imagination and such clarity of style and originality of approach as to win and hold every reader’s attention,” read the award citation. A century and a half after Novalis declared that laboratories will be temples, the poet turned marine biologist Rachel Carson (May 27, 1907–April 14, 1964) consecrated science in her lyrical writings about the natural world.
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