"In the partial and broken objects she gathers, Hurd finds the transcendent. Easily braiding observation and reflection, she is a clear-eyed witness to living gracefully with the wrack and ruin of our human burdens. She is a marvelous writer."
—Alison Hawthorne Deming, author of Writing the Sacred Into the Real
Writing from beaches as far-flung as Morocco, St. Croix, or Alaska, and as familiar as California and Cape Cod, she helps us see beauty in the gruesome feeding process of the moon snail. She holds up an encrusted, still-sealed message bottle to make tangible the emotional divide between mother and daughter. She considers a chunk of sea glass and the possibilities of transformation.
The book began on a beach, Hurd says, "with the realization that a lot of what I care about survives in spite of—perhaps because of—having been broken or lost for a while in backward drift. Picking up egg cases, stones, shells, I kept turning them over—in my hands and in my mind."
Each chapter starts with close attention to an object—a shell fragment of a pelican egg, or perhaps a jellyfish—but then widens into larger concerns: the persistence of habits, desire, disappointments, the lie of the perfectly preserved, the pleasures of aversions, transformations, and a phenomenon from physics known as the strange attractor.
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