50 Essays: A Portable Anthology - Samuel Cohen 2017

Brian Doyle, Joyas Voladores

Brian Doyle was born in 1956 in New York City. He was an editor at U.S. Catholic magazine and a writer at Boston College Magazine before becoming the editor of the University of Portland’s Portland Magazine. He is the author of a number of books, including Saints Passionate & Peculiar (2002), Credo (1999), and Two Voices (1996), and his essays have been published in the American Scholar, the Atlantic Monthly, Orion, Commonweal, Georgia Review, Brevity, and Harper’s, among other periodicals.

“Joyas Voladores” is a short, finely crafted piece of what these days is often called creative nonfiction. As you read, admiring the creativity and craft, don’t forget to notice that the essay is talking to you, the reader, asking you to do certain things, telling you certain things.

Consider the hummingbird for a long moment. A hummingbird’s heart beats ten times a second. A hummingbird’s heart is the size of a pencil eraser. A hummingbird’s heart is a lot of the hummingbird. Joyas voladores, flying jewels, the first white explorers in the Americas called them, and the white men had never seen such creatures, for hummingbirds came into the world only in the Americas, nowhere else in the universe, more than three hundred species of them whirring and zooming and nectaring in hummer time zones nine times removed from ours, their hearts hammering faster than we could clearly hear if we pressed our elephantine ears to their infinitesimal chests.

Each one visits a thousand flowers a day. They can dive at sixty miles an hour. They can fly backwards. They can fly more than five hundred miles without pausing to rest. But when they rest they come close to death: on frigid nights, or when they are starving, they retreat into torpor, their metabolic rate slowing to a fifteenth of their normal sleep rate, their hearts sludging nearly to a halt, barely beating, and if they are not soon warmed, if they do not soon find that which is sweet, their hearts grow cold, and they cease to be. Consider for a moment those hummingbirds who did not open their eyes again today, this very day, in the Americas: bearded helmet-crests and booted racket-tails, violet-tailed sylphs and violet-capped wood-nymphs, crimson topazes and purple-crowned fairies, red-tailed comets and amethyst woodstars, rainbow-bearded thornbills and glittering-bellied emeralds, velvet-purple coronets and golden-bellied star-frontlets, fiery-tailed awlbills and Andean hillstars, spatuletails and pufflegs, each the most amazing thing you have never seen, each thunderous wild heart the size of an infant’s fingernail, each mad heart silent, a brilliant music stilled.

Hummingbirds, like all flying birds but more so, have incredible enormous immense ferocious metabolisms. To drive those metabolisms they have race-car hearts that eat oxygen at an eye-popping rate. Their hearts are built of thinner, leaner fibers than ours. Their arteries are stiffer and more taut. They have more mitochondria in their heart muscles — anything to gulp more oxygen. Their hearts are stripped to the skin for the war against gravity and inertia, the mad search for food, the insane idea of flight. The price of their ambition is a life closer to death; they suffer heart attacks and aneurysms and ruptures more than any other living creature. It’s expensive to fly. You burn out. You fry the machine. You melt the engine. Every creature on earth has approximately two billion heartbeats to spend in a lifetime. You can spend them slowly, like a tortoise, and live to be two hundred years old, or you can spend them fast, like a hummingbird, and live to be two years old.

The biggest heart in the world is inside the blue whale. It weighs more than seven tons. It’s as big as a room. It is a room, with four chambers. A child could walk around in it, head high, bending only to step through the valves. The valves are as big as the swinging doors in a saloon. This house of a heart drives a creature a hundred feet long. When this creature is born it is twenty feet long and weighs four tons. It is waaaaay bigger than your car. It drinks a hundred gallons of milk from its mama every day and gains two hundred pounds a day and when it is seven or eight years old it endures an unimaginable puberty and then it essentially disappears from human ken, for next to nothing is known of the mating habits, travel patterns, diet, social life, language, social structure, diseases, spirituality, wars, stories, despairs, and arts of the blue whale. There are perhaps ten thousand blue whales in the world, living in every ocean on earth, and of the largest mammal who ever lived we know nearly nothing. But we know this: the animals with the largest hearts in the world generally travel in pairs, and their penetrating moaning cries, their piercing yearning tongue, can be heard underwater for miles and miles.

5Mammals and birds have hearts with four chambers. Reptiles and turtles have hearts with three chambers. Fish have hearts with two chambers. Insects and mollusks have hearts with one chamber. Worms have hearts with one chamber, although they may have as many as eleven single-chambered hearts. Unicellular bacteria have no hearts at all; but even they have fluid eternally in motion, washing from one side of the cell to the other, swirling and whirling. No living being is without interior liquid motion. We all churn inside.

So much held in a heart in a lifetime. So much held in a heart in a day, an hour, a moment. We are utterly open with no one, in the end — not mother and father, not wife or husband, not lover, not child, not friend. We open windows to each but we live alone in the house of the heart. Perhaps we must. Perhaps we could not bear to be so naked, for fear of a constantly harrowed heart. When young we think there will come one person who will savor and sustain us always; when we are older we know this is the dream of a child, that all hearts finally are bruised and scarred, scored and torn, repaired by time and will, patched by force of character, yet fragile and rickety forevermore, no matter how ferocious the defense and how many bricks you bring to the wall. You can brick up your heart as stout and tight and hard and cold and impregnable as you possibly can and down it comes in an instant, felled by a woman’s second glance, a child’s apple breath, the shatter of glass in the road, the words I have something to tell you, a cat with a broken spine dragging itself into the forest to die, the brush of your mother’s papery ancient hand in the thicket of your hair, the memory of your father’s voice early in the morning echoing from the kitchen where he is making pancakes for his children.

For Discussion and Writing

1. What is the chief metaphor in “Joyas Voladores”?

2. How would you describe Doyle’s style in this essay? Is it more matter-of-fact or more literary? Answer with specific examples, and consider also the effects of these choices.

3. connections Read “Joyas Voladores” next to E. B. White’s “Once More to the Lake” (p. 404). What themes do they share? What reflections does each author make on these themes?

4. Doyle’s descriptions of different animals’ hearts and habits are masterful. Break one or two of them down and explain what it is that makes them models of this kind of writing. What choices does he make? What are their effects? (If stuck, imagine other ways he could have described them — for example, “Whale hearts are really big.”)

5. looking further “Joyas Voladores” leaves two ostensibly opposite impressions: one, that animal life can be observed, named, and understood, as in paragraph 2; two, that animal life is mysterious to us, as in paragraph 4. What does it mean to think of the world of nonhuman animals in the first way? What does it mean to think about it in the second way? What does it mean to think in each of these ways about humans?