Book Review: HEADING HOME: FIELD NOTES by Peter Anderson

Heading Home: Field Notes
by Peter Anderson
Conundrum Press, 2017
$14.99

Reviewed by Isabel McCarthy

In Heading Home, field notes are more akin to poignant vignettes, setting Anderson apart as a master of poetic fiction. What is truly remarkable about Peter Anderson’s writing is his ability pull the reader into the experience with him and then leave them deep in thought following the briefest scenes. In simple snapshots, he provides sharp observations of his surroundings. And whether those surroundings are people, places, or things, Anderson always manages to breath life onto the page. Alert and meditative, Heading Home is a book that makes you want to reread every page and share each one with a friend. With every vignette, Anderson colors his writing with wit, contemplation, and care. He will turn the invasion of a killer raccoon into a noir crime scene and simultaneously ask you to appreciate the varying responses from his 8- and 12-year-old daughters. He will piece together a list of Spanish phrases to use at the bar while leading you through an arc of emotion.

From a scripture-citing barista to Barbie dolls, readers can enter each vignette and expect to encounter bold characters and unique imagery because of Anderson’s ability to see significance in the ordinary. “A dust devil whirls up from the south, leaving a thin film of red sand on the windshield. I could wash it all away, but it softens the bright light, so I let it be—this remnant of the wind made visible,” Anderson writes in a piece titled “Espresso in Kayenta.” These minute moments, like sand gathering on his windshield, make Anderson’s work feel genuine, authentically representing one man’s particular experience in the American West. Perhaps he was just stopping for coffee, but Anderson is attentive to the details of that stop that made it a significant memory. And it is with this cognizance that he is able to imprint that memory on his readers as well.

Moreover, Anderson’s awareness extends to writers that came before him. He understands the wilderness writer trope that he might be forced into and shuts it down with “Letter to Jack Kerouac.” Yes, Anderson is a writer inspired by his travels, but his road is not an imitation. Rather, Anderson effortlessly transcends stereotype with double-consciousness. “Some time ago, I drove past the sign that says there is more in the rear view than I will ever see through the windshield,” he writes. The quote, while indicative of Anderson’s age and position as a narrator, also demonstrates his consciousness of something else. That maybe he could have been typecast as a formulaic wanderer once, but he has decidedly continued writing about his travels, now with reflective growth. Unlike Kerouac, Anderson’s field notes hold an underlying search, not for abundant possibilities, but for refuge in the seemingly mundane aspects of everyday life in the Midwest. “I’ve given up anywhere for somewhere, which strikes me now as a fair trade,” he explains in his letter. With this mindfulness, Anderson’s travels remain striking and never feel overused.

Equally remarkable is Anderson’s powerful narrative voice, composed of swift wit and outstanding diction. “If the lower elevations called me now and then, it was only until the nightmares came: visions of après ski tights and fur jackets wandering the newly fern-barred streets of this ghost town turned resort,” he states. Before readers can even begin to appreciate his subtle humor, Anderson is on to another vista (in this case, “the old cabin surrounded by an invasion of doublewides”) or piece of quick wisdom. His writing is concise and rapid, keeping readers vigilant. This straightforward but clever voice enables Anderson to capture so much thought in such short passages.

This is the kind of book you pick up and finish reading before you’ve realized. Each field note brings new insights into the importance of little things, forcing readers to dive deeper and deeper into thought as the book continues. Rereading scenes is unavoidable, not because Anderson outwits his readers, but because each piece can be appreciated individually and then as part of a poetic compilation. This book left me feeling refreshed as a reader and covetous of Anderson’s sharp observational eye.


 

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