Showing posts with label Ted Leeson. Show all posts
Showing posts with label Ted Leeson. Show all posts

Wednesday, February 3, 2021

Quotes from Ted Leeson's "Inventing Montana"


You cannot cast a fly anywhere in the river without the conviction that it’s drifting over fish.  That you may know better counts for nothing in the overpowering impression of possibility, one of the pleasant illusions from which an angling life is built.

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Any enterprise centered on angling automatically forfeits any pretense to seriousness in the ordinary world. 

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Fishing is at heart a form of play.  I have always assumed this much to be obvious, but judging from the current trajectory of the sport, evidently it is not.  Modern angling is uncomfortable with the idea and prefers to regard itself more along the lines of modern medicine, as an acutely specialized body of knowledge dispensed by a priesthood of experts.

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Wade fishing rests on the deep psychology of righteousness and all the props available to the Man of Virtue in a classic morality play – self-denial, sacrifice, steadiness of character, endurance of hardship, humility, and the abnegation of worldly comforts.

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To wade a river is to participate in the ritual purification of bathing, one of the oldest and most widespread of metaphors, though ideally without the getting-wet part.

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People being what they are, conflicts inevitably crop up between those in boats and those not.  Usually avoidable but not always avoided, they generally take the predictably American form of one indignant sense of entitlement confronting another, and sometimes you wonder whom to pull for.

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Fishing on foot has a microscopic character and makes small things into larger ones.

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Boots and boats represent as much instruments of observation as methods of getting around. 

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Fly fishing is not one of the eternal verities, but it can bring you closer to a few, the stream itself foremost among them.

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There is a certain and distinct pleasure, the source of which I cannot pinpoint, in simply watching water run downhill, an endless scroll of current on which the river inscribes the complicated history of itself.  And it reads equally well whether you choose to be in the water or on it.  It merely comes down to a matter of what pleases best, and once that is resolved, no other relevant questions remain.

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Looking forward to a fishing trip and preparing for it bestows a happiness of its own, and the flies I tie represent the material form of my private anticipatory pleasure.

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No one should kill a trout without a sense of having diminished the world’s quotient of wildness.  This isn’t necessarily a reason to renounce the practice, but if it doesn’t give pause, you have some things to think about.

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(On any “surplus” of anglers crowding a preferred portion of water, and the “annoyance and disappointment you are unentitled to feel at seeing your favorite reaches of water occupied day after day.”)

It may rain on your expectations, but if the presence of other fishermen ruins your day, the problem should be reckoned yours, not theirs.

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I doubt there’s an angler alive, at least one with any imagination, who hasn’t at some time or other trespassed on posted land or snuck onto private water.

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I have always favored morning fishing anyway.  The first hours of light on a river are the most gracious of the day.  Cool night air still lingers over the water, and there is seldom any wind.  Shadows stretch out as the day uncurls in the yawn of morning sun, and the river is never more quietly spectacular nor the landscape more vividly limned than in that slanting light.  Nocturnal creatures wander home, diurnal ones take their place, and there is much to see at the change of shift, as in truth there is at dusk.  But the sun sets with a sense of time seeping away, of attenuation and impending conclusion; with dawn, the day just keeps getting bigger, and for several hours the far end of it is quite invisible.  The fishing prospects, as yet uncorrupted by the fish, are envisioned through the purities of early-morning hope and its innocent interpretations of the future.  At sunrise on a trout stream, every man is an optimist.

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Human beings in general seem constituted to want it all, but fishermen believe they can actually get it.

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The soul of an angler embraces a collection of unquestioned convictions, foremost among them the faith that a trout could take on any cast.  Deprive him of that assumption and only a perplexing sense of waste remains.

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Trout always lie in the direction of greatest hardship.

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It is an old truism that the best fishing takes place in spaces of transition, on the edges between current and obstruction, shallow and deep, warm and cool, fast and slow, day and night.

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Fly fishing cannot be called, in any important construction of the term, an “art.”  It is only a medium.

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Any conception about a favorite place to fish cannot be separated from an idea of why you fish to begin with, of what you go to the water looking for and what, having been there, you come away with. 

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A fishing place (and fishing itself, I would argue) is a kind of shorthand – a metonym that names the container for the things contained.  The particular ways in which you appreciate a river; the assumptions and intentions you bring to it; the way you envision what you are doing on the water and what you take its purpose to be; what you attend to and the person you become while you are there – all of these, and others, are contained in a space called “favorite” that we partly define for ourselves by what we choose to invest in it.  I doubt that these choices even register on us consciously.  In our minds, it’s just how we fish, invisibly there, like a form of gravity.

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To some extent, and possibly a larger one, we create the places we fish through the decisions we make about what matters there.  A river, or a lake, or a saltwater flat is fundamentally itself.  But it also contains the raw material from which to arrange a place of meaningful occupation, one that grants a temporary autonomy, where the miraculous in the ordinary is more likely to show itself and where you are more likely to see it, where you can inhabit a story you fashion that is all about why you are there.

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(On the matter of fly patterns for a sport “that so openly invites the more analytical forms of observation, so insistently encourages the construction of hypotheses, and so seldom rewards them.)

When it comes to flies, the fish have the advantage.  At the end of the day, only the trout’s opinion counts, though this does not stop anglers from having plenty of their own.

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(On fishermen as “creatures of reason, driven or inclined to explanatory conjectures.”)

Simply catching fish or failing to catch them does not serve; the unrepeatable successes and persistent failures haunt us equally.  We must know the causes, and if they cannot be objectively discovered, we will invent them.

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The quality of a day’s fishing, whether good, bad, or otherwise, can rarely be attributed to a single factor; almost always it involves a conspiracy. 

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Fly angling is an occupation of a thousand variables – water and weather, light and temperature, instincts and accidents – in which a small alteration in any one of them may rattle down to the others in a chain reaction and cascade through the system until everything, most particularly the fishing, changes. 

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Put a nickel into a fly angler and he will dispense theories until you put a quarter in to make him stop or, failing that, manually unplug him.

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Fly angling offers little in the way of absolutes; for the most part, it consists mainly of conjectures forcibly willed to the status of fact. 

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We operate under a theory that a change of fly offers the surest route to a change of fortune.  For an overwhelming number of us, of course, the best way to catch more fish is to become a better fisherman.

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Knotting on a different fly requires infinitely less time and personal effort than learning how to do something new or better.  The fly, we reason, is what makes things happen, and so using a different one should make them happen differently.

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 Blind fishing has as its most immediate objective a good cast, which after a time becomes its own incentive; you grow more absorbed in throwing strikes and less concerned about getting them.

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Any trout fly that catches a trout gives some fragmentary hint of the ideal, a partial glimpse into a transcendent reality that we will probably never arrive at.

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We all confront the same observed evidence of the water, reach into our fly boxes, and, often enough, produce different solutions to the problem of catching fish.

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(On a fisherman’s flies, in “that all of them signify something we believe in, or used to believe in, or think we might believe in when we get around to trying them.”)

Dig through an angler’s patterns and you will unearth a private archeology of shrewd inferences and failed speculations, unlikely hopes, long-shot bets, the remnants of rivers past, hatches that materialized or didn’t but still might.

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Our fly boxes warehouse our experience and experiences; they become a form of material memory.

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Like pets, fly boxes take on the personalities of their owners; they house our angling identities, which may or may not resemble our everyday identities as they exist uncorrupted by fishing.  It depends upon the fisherman.

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While a fly pattern obviously has no inner life, it does have the suggestion of one: a name, a parentage, a history, an occupation; it can evoke affection, trust, misgiving, prejudice; it has a finite lifespan and, as with people, its passing is sometimes mourned and sometimes not.  A fly pattern is not a person, but collectively in our boxes flies do constitute a kind of population.  Because we have made them and sometimes invented them and so know them in a way that the nontier does not, we don’t so much use our flies as enter into partnerships with them.

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While I like to think of myself as an equal-opportunity angler, I have limits and draw the line at those increasingly popular patterns, mostly nymphs and streamers, draped in more flashy glitter and trashy bling than a pop-star entourage, and dressed with a similar unholy sense of color.  The trout in my universe have never been interested in sequin-and-paste costume simply because I have never shown it to them.  In making this choice, and many others, I manage to supervise reality in a way that makes it conform to my worldview, which I take to be the ultimate theory behind all flies and fishing.

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A trout fly inhabits the space of our best imaginings and becomes a kind of narrative of its own, a plot we construct about a character in disguise.  In the end we cast a fly on the water for the same basic reason that we test a hypothesis or read a story – we want to see how it all comes out.

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(On the western fly fisherman’s “disingenuous contempt” for the species whitefish, these “Montana bonefish” being his “chief metaphor for disappointment,” and the “more complex relationship” of “pretending to a greater disappointment than he actually feels” of catching one, or many more, instead of the targeted species, trout.  That “you may not like whitefish much, but you need them.  They are necessary, answering a call from those murky sectors of the heart that are best left unexplored.)

I find it hard to imagine that anyone with angling in his soul would regret catching a fish, at least as opposed to not catching one.  We just wish to remind ourselves of the simple, animal pull that lies at the heart of the game.

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(On a general premise of angling that “fish are catchable,” even if far from being “self-evident, this assumption must be granted” or else “admitting the contrary concedes in advance the essential futility of it all.”)

Whether you ultimately hook any fish doesn’t matter, but the possibility of it must exist.  That alone gives meaning to your efforts, even the failed ones.

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A moment will sometimes arrive in fishing, infrequently but unfortunately, when you can see the day taking a turn, heading south, going sour in ways that you neither anticipated nor seem capable of stopping.  Any number of identical circumstances might precipitate the decline – bad luck, bad weather, bad water, bad company, or just you fishing badly – but in time it expands to become a free-floating and generalized pall of frustration or discouragement or ill humor that descends over everything.  Nearly always, however, you can trace it to the same cause: you’ve invested too much in too little, of wanting too specifically.

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Define the terms of success too exclusively and you hang the weight of your satisfaction on a hook too insubstantial to hold it.

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To stake one’s well-being on catching fish is invariably a fool’s wager.

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You will spend some fraction of your fishing in wait, and when gauged against the putative aim – catching something – that fraction is large.

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 (On the perception of boredom originating “from being attentive to the passage of time itself.”)

The angler labors under no such inconvenience and routinely misplaces large chunks of time, entire afternoons, whole days, significant portions of a life, with no idea where they have gone or any specific recollection of how they disappeared.  You can certainly become bored while fishing, but only if you ask too much of it or expect the wrong things.

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    (On the “hallucinogenic properties” of “technical fly-fishing literature” distorting occurrences of hatching insects and rising fish “which anglers have been induced to believe are the default condition of the average trout stream and a routine component of the ordinary angler’s experience in fishing.”)

While I’ve lived long enough to know better, and though the melancholy truth of the converse has been repeatedly demonstrated to me, I nonetheless share the pervasive American faith in pharmaceutical therapies and believe that the various hatch-related maladies that might afflict an angler can be treated with the proper prescription of fly patterns.  In this regard, I am a walking drugstore.

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The human imagination gravitates more to the singular than the ordinary, and exchanges among fishermen typically highlight the atypical, in which both fish and fishing abound.

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I can only gesture lamely toward the kind of irrationality that underlies much of angling – how, for instance, we allege to deepen our appreciation of nature by pestering it, sometimes to death.  If fishing were inherently reasonable, you’d probably see a lot more people on the water.

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There is no significant point to be proved in fishing, unless you wish to demonstrate that you’re somehow more clever than the fish, a suspect aspiration to begin with and frequently inconclusive in the end.  Nor will fishing cure what ails you, though I must say it does a commendable job of treating the symptoms.

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Fly fishing is not a religion.  At best it can bring you to sacred places and show you a small miracle or two.

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Waiting represents just a distilled and concentrated version of the deep uncertainty that surrounds all fishing – angling, perhaps, in its most abstract form.









 ©2009 (Skyhorse Publishing)

Sunday, February 9, 2020

Quotes from Ted Leeson's "Jerusalem Creek"



An angler learns the water piecemeal, beginning in each new spot by shrinking even the largest river to the compass of a cast, measuring out the boundaries of a space that, for a time, exists to the exclusion of all others.  What lies inside so fully captures your attention and engages the senses that whatever takes place outside those borders is beyond awareness.  This contraction of the world, concentrating it to a local and immediately present space, sometimes furthers the catching of fish, but beyond that it is, simply in and of itself, one of the best parts of fishing.  A good fisherman can create such spaces anywhere.
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Everything in a spring creek, the constancy of temperature and flow, the chemistry of the water, the meandering shape, the streambed geology, terrestrial and aquatic plants, zooplankton, insects, crustaceans, predators and prey – all condense to one trout holding in a shady bend.
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To wade a freestone stream is to walk on the crust of the earth; step into a spring creek and you may find yourself knee-deep, and still sinking, in loose suspensions of sand and silt that make it difficult to say what or where the bottom is.  A spring creek has boundaries but not barriers; at its edges, the water does not suddenly stop but shades to wetness in tangles of roots and rootlets and in masses of half-submerged watercress, and then becomes mud that trails off to dampness in the soil beyond.  In there somewhere, dry lands begins.
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Fishing, like fish, and like much in the natural world, flourishes at the edges of things, and on a good spring creek, there are trout almost everywhere.
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Nature is nowhere inherently beautiful; we only invest it with beauty – a fact that by no means reduces the power or pleasure we feel, but one that raises questions about why we distribute those investments unequally.
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Water is an ancient emblem of spiritual purification, and its symbolic power to absolve is as old as the need to be forgiven.
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A spring is the past unearthed, issuing from a crack in time.  In its waters old stories are told, a disclosure of hidden workings flowing like an open vein or welling up to the skin of the earth like blood in a bruise.
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There is no essential difference between the intimacy of occasion and the intimacy of place.  They share the same secret interior, and it has never appeared to me that it could be otherwise.
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It is a truism among anglers that the deepest affections attach to first waters.
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Fishing becomes a form of memory, and memory a form of return.

(On fishing first waters, treasuring the unique familiarity, memories created, experience gained, and depth and richness of association rooted as a result of angling such a location.)
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Fish the places that other anglers overlook.

(On inexperience, or learning to employ that “scrap of wisdom” learned of reading the published writing of angling “masters.”)
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The rock remembers and writes its history on sheets of stone, imprints it in fossils pressed like leaves in the pages of an old book, etches its story in the cursive of a spring creek inscribed on a valley floor.  The land is memory and the water is remembering, breaching time to unearth the past.

(On the topology and geology of an eroded valley floor, carved of running water, exposed “half a billion years high” of “all the landscapes it has ever been” as stratified layers of stone sediment.)
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I still value above all the kind of fishing day that passes in the alternating rhythm of being alone and being in company.  Both solitude and society are improved on a trout stream.
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I’ve always imagined that viewed from a height, our movements had a certain antlike quality to them, the stoppings and startings and brief touching of antennae, each individual creature moving with at least distantly discernible purpose, while any logic of their collective activity remained a mystery.

(On the “thoroughly and happily disorganized affair” of “wandering up and down the stream looking for good water,” passing one by one, the individual fishing companions of your party's outing, scattered over the length of a waterway.)
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Possession, even if it is only symbolic, lurks deep in the heart of every angler, or at least those who are any good at it.
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In fishing, you can be shown how to cast, to set the hook, to maintain a tight line and play a trout – but these are only mechanics, and their mere implementation cannot be called fishing any more than vibrating air can be called music.  The fishing exists elsewhere, in the cracks between these other things or somewhere underneath them: in the capacity to imagine in three dimensions, to infer the details of current and streambed from the character of the surface; in finding fish and reading their moods from the language of position, attitude, and movement; in sensing the take of a nymph or interpreting the drift or drag of a dry fly; in always having another idea; in a hundred other subtleties so automatic that you come to regard them as instinct, and only in retrospect realize that there was a time when you did not know them. 
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Every fisherman reinvents the sport in just the way every child reinvents the language or every storyteller the story each time it is told.  To fly fish a spring creek is to rediscover the modern origins of the sport, to recapture the logic of its form by reproducing the circumstances that first gave it shape.  It is the reinvention of a method precisely calibrated to a place, the redrafting of an architecture, not merely through imitation but by rebuilding its very rationale.
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The trout struck in an unnecessarily violent slash-and-turn rise that left us mutually astonished.  I had never seen such a thing happen before; the thrill was stunning and electric – like being struck in the zipper by lightning – and even now, the surface take of a trout still generates this same sensation, though in somewhat lower voltages.
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I do not fish for them deliberately but am delighted whenever I catch one, not because of their rarity but because they are a reminder that the past is not necessarily gone simply because it’s behind you.

(On the scarcity of natural existence of the most “beautiful of all trout species,” brook trout – fontinalis, “of the springs” – “the only species of freshwater fish I know of that would not look out of place among the phantasmagoria of a coral reef.”)
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Depending upon your point of view, it is a sign of maturity or arrogance or decadence that there comes a point in an angling life when a fisherman abandons the quest for size and numbers of trout and insists instead only on their difficulty.  The brown trout obliges.
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When a brown trout levitates from the streambed, slowly and balloonlike, and drifts downstream eye to eye with your fly, you get the distinct and uneasy impression that it’s not just looking, it’s thinking.
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As each fly fisherman reinvents the sport, so the sport in turn invents each fisherman, its particulars shaping the outline of the angler he will one day be, piping the tune that first set the atoms of the brain to dancing.
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If you don’t care about catching fish, you have no business fishing in the first place.  I do have my vanities, but catching a lot of trout is not one of them.
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Trout are loveliest when viewed from above, where the brilliance of their design and the logic of camouflage is most apparent.  A fish in hand is like a jaguar or zebra in a zoo – out of context, its patterning is an absurdity – but against the background of its habitat, the coloration and markings are unexpected genius.
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I have hooked my share of large fish, and my share has been, in all justice, small.

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During the course of every angling life, the image of a few, particular fish are inscribed on the fleshy tablets of the brain.
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Each angler, I think, constructs from the stuff of his experience a Platonic trout stream that winds through the landscape of his imagination, the place against which all others are measured, the water he hopes to go to when he dies.
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There are big trout here, but not many, and they are not the kind you simply fish for; they are the kind you mount a campaign against.
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Fish care nothing for your self-esteem.  It is one of their best qualities.
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If individual trout snub you, a trout stream itself is nothing if not an endless series of second chances.
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All streams flow backward, and reflected somewhere in the surface of every river you fish are the images of those first places.

(On a philosophy of life, and a life spent fishing, in that the body forms we occupy are an “architecture of our own recollection,” our memories of angling waters and places, ones that we “can never leave.”)
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Even the most genial of anglers can get pretty testy if you start talking out loud about their favorite waters, particularly when many of those places are obscure and have so far escaped the calamities of a reputation.
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In many places, fishing the spring creeks depends upon the dexterity with which you can climb over, wriggle under, or slip through barbed wire and the ease of conscience you can summon on the private property beyond. 
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To look to the natural world for moral instruction is a dangerous business at best, for much of what you find there is antithetical to the best impulses of human culture.

(In nature, “the strong dominate the weak, charity and sympathy have no place; infanticide, thievery, self-interest, and opportunism are commonplace.  The dynamics of the natural world are neither evil nor ethical – they are morally unaligned, merely the ongoing adjustments by which things are made to work; they simply are what they are.  Nature is an excellent teacher, but it teaches mostly about itself.”)
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A good fishing partner is the human equivalent of home water.
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To fish home water with home companions is to inhabit one of the most agreeable of all spaces.
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For better or worse, one’s personality, life experiences, and general makeup assert themselves indiscriminately, and there is no reason that fishing should be spared.  The sentimental drunk, in my experience, is still sentimental when he’s sober, and I’ve never seen a fistful of Valium, a dose of the spirit, or a pool full of rising trout transform an asshole into Mother Teresa.
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There is an angling maxim, one I have seen attributed to everyone from Confucius to Herbert Hoover, that claims the hours spent fishing are not deducted from one’s allotted span of life on earth.  And though I put no stock in the sentiment, as with many adages the truth resides less in the statement than in the perception that gave rise to it, and I suspect that this sense of being located outside time is familiar in some form to nearly everyone who has ever fished. 

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Like most fishermen, we gauged the excellence of the water by the number of fish we took, which is a poor yardstick to begin with and particularly so when wielded by poor fishermen.  Looking back now, I suspect that this water was well supplied with trout of the usual two varieties: the kind we could catch, which were scarce, and the kind we could not, which were abundant.
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Like many fly fishermen, I enjoy watching another angler fish nearly as much as I enjoy fishing myself, and on some occasions even more.  It is the most contemplative version of something I find contemplative to begin with, and its rewards lie in the observation rather than the action.

(Especially, as the author upholds, “if that someone is any good, watching him lay out a cast and drop the fly and work the water feels very much like fishing, even though you’re not holding the rod.”)
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Rituals, even those of loss, are by nature an affirmation, and their significance is cumulative.  In ours, meaning grew along a trout stream; the landscape gave rise to ritual that in turn conferred a kind of sanctity on the land.  And this is what it means, I think, to know a place by heart.
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It takes time to know a trout stream, but if you visit one often enough to learn at least some of its secrets and idiosyncrasies, you begin to fish the water not only with a greater expectation of success but with an increasing sense of affectionate familiarity, even on those days when the trout hand you your hat.  After a time, this fondness gives way to a feeling of proprietorship about the place, which at its best shows itself in a paternal kind of protectiveness.

(On attachments to certain, specific waters, and the “step from passion to possession,” especially “when one angler discovers another fishing ‘his’ water, not water that belongs to him, but to which he feels entitled by long association.  Fishing is essentially a utopian occupation, and this (feeling) is its natural extension.”)
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In some cases the number of frighteningly large trout occupying an unbelievably small area of water gives the fishing a kind of artificial, staged quality, like professional wrestling.

(On fishing private water, both “the kind you pay to get on and that rarer and more mysterious kind that no money can buy access to, that you get on only by knowing someone or knowing someone who knows someone.”)
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“Each man kills the thing he loves,” writes Oscar Wilde, and one need look no further than some of the best-known rivers in America to see just how this paradox works.

(On “preserving the resource” and “crowds of fishermen that can hammer a place just by being there, no matter how well-intentioned and careful they may be.”) 
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To regard a place with wild trout as having some measure of environmental integrity may just be another form of self-delusion, but in the end I am a trout fisherman and cannot help but believe that trout express something about the land.  There is a narrow line between indifferent resignation to a diminished world and appreciating what gifts still remain.

(On the author’s assertion that “there is no such thing anymore as a nonpolitical trout.  Every fish is one that easily might not have been. Each one exists by sufferance, by virtue of a land-use restriction, a stream-saving deal, a lawsuit, court injunction, state or federal land designation, a regulation or statute or someone’s goodwill.”) 
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The creek runs clear, curling through the meadow, the current carving patterns in the water as varied and shapely as the grain in wood.  Spring water spooling through the throat of a pool fans out in the glistening fleck and medullary ripple of quarter-sawn oak.  In shallow flats, submerged weeds rumple the surface to a twisted confusion of humps and burls, knots and whirlpools, like a plank of bird’s-eye maple.  

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More than any other type of water, a spring creek makes you appreciate the fact that distortions are an immense advantage to the fisherman; the pure and plain truth is always the hardest to manage.

(On the fact that a spring creek does not “hide your presence, or your want of skill, or faulty presentation, or the inadequacies of tackle or miscalculations of method, paring away anything that might disguise your mistakes and carelessness and incaution.  A spring creek is nakedly simple, and that is precisely where the difficulty lies.”)
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Luck and happenstance are always a part of fishing, though for the most part, I think, in small and subtle ways that an angler never notices.  But the aim of fishing is to fish well, and the aim of fishing well is to make chance count for as little as possible.

(On “preserving the illusion that we are agents of our own success, that we have orchestrated the whole affair” – of successfully hooking a fish – “that it willingly and predictably responds to our own ideas about how it ought to behave.”  That is to say, a hook-up wasn’t a fluke or accident.)
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For well over an hour (we) hook eight-inch trout on every second or third cast.  It is remarkable how this kind of fishing, fast and effortless, can so rapidly lose its charm.  We labor to this very purpose, and when a rare moment delivers the thing we have hoped for, our interest fades.  It is another of the fisherman’s peculiarities that bewilder the nonangler, and I am sometimes puzzled myself and left wondering just what we want out of all of this.

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You seize those occasions that look like justice because you never know whether another one will come along.
(On the rarest of times when it’s relatively impossible to NOT hook a fish.  Think, blitz conditions from your perspective as a surfcaster.) 
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Old places, even those you once knew intimately and still remember well, sometimes possess a surprising weight when you return to them.  The weight that you feel exists in the present, not in the past.  You can call it nostalgia or sentimentality, but it is really a kind of mourning, and you are the one who has died.  The person you were then no longer exists.
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A trout stream might be therapeutic at times, but it is not finally a form of therapy.  In the odd and unbidden moment, it may surrender some insight, but if you fish for enlightenment, you better be sure first that you can stand the glare.
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Imitation is not the principal end of fly fishing, only a means.  The goal itself is deception, the perpetration of a lie, and the more you consider that the trout is not the only creature deceived, the closer this idea comes to the heart of fly fishing. 
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It is not enough to catch the fish – we must know why.
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A trout fly is only a story we invent, a tale spun on a hook shank from the imperfect materials at hand, ordered according to our best guess, an explanation of what we think we understand about a world.
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©2002 (The Lyons Press)