Orb-weaver

A black garden spider has spun her web near my back doorstep, just to the left of me as I write. She is a showy spider. Her body is a little more than one inch, with a third pair of legs about half as long as the other legs. We spend most evenings together. She keeps me company while I am living in this never-never land of coronavirus, that twilight place we are all suspended in while the virus dominates, requiring humans to spend more time alone. 

Much has been written about the loneliness of the writer’s lot. The truth as I know it, in my experience, is that writing is not a lonely business. I write with my characters telling me stories and with the natural world all around me. There are days when the sky does high drama, a stiff wind, dark, scuddling clouds, pellets of rain. Today the sunset is a slender strip of magenta heat. Soon it will be time to check in with my spider-friend. Midday I find her web helter-skelter with holes and large gaps connected by fine threads, dangling. Silver strands, like my hair in the sunlight. She returns after dusk, after spending her day who-knows-where. Hours later, after the sky has turned dark, I find her web repaired and she sits in the center, awaiting. By dawn she will be gone. I wait for nightfall, for her return. One night she will go away and be gone forever, meanwhile I am tuned to her rhythm. 

When you write, you lay out a line of words. The line of words is a miner’s pick, a wood-carver’s gouge, a surgeon’s probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next year. —Annie Dillard


We Who Walk the Seven Ways is Terra Trevor’s memoir about seeking healing and finding belonging. After she endured a difficult loss, a circle of Native women elders embraced and guided Trevor (mixed-blood Cherokee, Lenape, Seneca, and German) through the seven cycles of life in Indigenous ways. Over three decades, these women lifted her from grief, instructed her in living, and showed her how to age from youth into beauty. 

With tender honesty, Trevor explores how every ending is always a beginning. Her reflections on the deep power of women’s friendship, losing a child, reconciling complicated roots, and finding richness in every stage of life show that being an American Indian with a complex lineage is not about being part something, but about being part of something. 

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“Terra Trevor’s memoir is a gentle invitation to journey with her across decades, an invitation to notice with her as she seeks healing and finds belonging. There were phrases and sentences I underlined, places where I wept, passages that will remain with me as they drew me to insights I’d previously struggled to name. I closed the final pages and knew that in reading this book, I had been the recipient of a generous and much-needed gift. While I can certainly finish a book in a day, I chose to move slowly through this one, letting each idea, each paragraph, each reflection gently spill over me, allowing the pages to alter me in some way.” —Patrice Gopo, author of Autumn Song: Essays on Absence

 "Terra Trevor’s Pushing up the Sky is a revelation of the struggles and triumphs packed into the hyphens between Korean and Native American and American. From her, we learn that adoption can best be mutual, that the adoptive parent needs acculturation in the child’s ways. With unflinching honesty and unfailing love, Trevor details the risks and heartaches of taking in, the bittersweetness of letting go, and the everlasting bonds that grow between them all. With ‘Pushing up the Sky’, the ‘literature of adoption’ comes of age as literature, worthy of an honored place in the human story." —Robert Bensen, editor of Children of the Dragonfly: Native American Voices on Child Custody and Education