Oh, domesticity! The wonder of dinner plates and cream pitchers. You know your friends by their ornaments. You want everything. If Mrs. A has her mama’s old jelly mold, you want one, too, and everything that goes with it—the family, the tradition, the years of having jelly molded in it. We domestic sensualists live in a state of longing, no matter how comfortable our own places are.

Once a stray cat came in during the night. We put a hatbox for it on the WC, and it had kittens inside. I sometimes feel like a stray cat without a hatbox.

It’s good having friends who farm. It’s good to know the names of their cows and the calves that come in the spring. It’s fun to see the new ones when I head up to get eggs from my neighbor. It’s good knowing they would be here in a minute for us anytime day or night, and it’s good knowing they can count on us the same way. We have a 1958 Ford tractor that I love. We have silos and a barn that has been here 100 years. The original house burned down years before we got here. Our house is a little tract house—nothing much at all. But we put on a tin roof and a covered porch and built a masonry bread oven. We have a big garden—man, I’m starting to cry here. It’s not the prettiest farm at all, but it’s the best place I’ve ever lived in my life.

When I got home from school I did what I had always done, which was to read, curled up in the window seat in the library or lying flat on my back on the floor with my feet in a chair, in the darkest corner I could find. The house was full of places to read that fitted me like a glove, and I read the same books over and over. Children tend to derive comfort and support from the totally familiar—an umbrella stand, a glass ashtray backed with brightly colored cigar bands, the fire tongs, anything. With the help of these and other commonplace objects—with the help also of the two big elm trees that shaded the house from the heat of the sun, and the trumpet vine by the back door, and the white lilac bush by the dining-room window, and the comfortable wicker porch furniture and the porch swing that contributed its creak…creak…to the sounds of the summer night—I got from one day to the next.

When I return to my house I find that visitors have been there and left their cards, either a bunch of flowers, or a wreath of evergreen, or a name in pencil on a yellow walnut leaf or a chip. They who come rarely to the woods take some little piece of the forest into their hands to play with by the way, which they leave, either intentionally or accidentally. One has peeled a willow wand, woven it into a ring, and dropped it on my table. I could always tell if visitors had called in my absence, either by the bended twigs or grass, or the print of their shoes, and generally of what sex or age or quality they were by some slight trace left, as a flower dropped, or a bunch of grass plucked and thrown away, even as far off as the railroad, half a mile distant, or by the lingering odor of a cigar or pipe. Nay, I was frequently notified of the passage of a traveler along the highway sixty rods off by the scent of his pipe.

When I bought my farm, I did not know what a bargain I had in the bluebirds, bobolinks, & thrushes. As little did I know what sublime mornings & sunsets I was buying.

What happens to me when I cross the Piscataqua and plunge rapidly into Maine at a cost of seventy-five cents in tolls? I cannot describe it. I do not ordinarily spy a partridge in a pear tree, or three French hens, but I do have the sensation of having received a gift from a true love. And when, five hours later, I dip down across the Narramissic and look back at the tiny town of Orland, the white spire of its church against the pale-red sky stirs me in a way that Chartres could never do. It was the Narramissic that once received as fine a lyrical tribute as was ever paid to a river—a line in a poem by a schoolboy, who wrote of it, “It flows through Orland every day.” I never cross that mild stream without thinking of his testimonial to the constancy, the dependability of small, familiar rivers.

Over a period of thirty years, I have occupied eight caves in New York, eight digs—four in the Village, one on Murray Hill, three in Turtle Bay. In New York, a citizen is likely to keep on the move, shopping for the perfect arrangement of rooms and vistas, changing his habitation according to fortune, whim, and need. And in every place he abandons he leaves something vital, it seems to me, and starts his new life somewhat less encrusted, like a lobster that has shed its skin and is for a time soft and vulnerable.

Only in this sun-steeped country can a heavy table, a wicker chair, an earthenware jar crowned with flowers, and a dish whose thick enameling has run over the edge, make a complete furnishing.

I’m married to my calling, but I’m not married to a particular woman. I have no pets. My apartment is full of books and records, the light of Toni Morrison and John Coltrane.

Will I ever get home? It is like looking down a tremendous ski jump. The bottom is not so far away in time, but in effort and all one has to give to it, such a mighty jump.

I do know for a fact that a man can’t know the quality of his home until he has lived in it a year or two; and until he knows its good and bad qualities how can he presume to go about remodeling it?