A solitary residency can be rough. Going to a new community alone is like throwing yourself into space, something the two eagles across from the post office may have felt, when they fledged on September 1st, the day my husband left me in Homer. The Storyknife Residency that mystery-writer Dana Stabenow manifested, after a stay at Hedgebrook years ago, is a writer’s dream: a month of unfettered time in a cabin that sits on a bluff on the Kenai Peninsula across Cook Inlet from Mt. Illiamna and Mt. Augustine, a Fuji-like cone, renamed by Captain Cook early on.
The cabin outside of town has a redwood deck, a lawn surrounded by a brushy meadow of fireweed turning red in autumn. Grass with beige seed heads, then fir and a scrubby spruce that screens a neighbor’s shingled house. My host’s house contains one square of golden light most evenings. The cabin has a living area with a microwave, a hot plate, a separate bedroom, each about seven feet square with a slant of high ceiling that gives a sense of space. A bookshelf in the living room of clean pine, a quilted wall hanging. The bedside lamp is sweep of green glass; there are pegs for my clothes. It’s simple and sufficient. The Big Dipper rises in the window over the bed.
I’ve come to write, and I do. These are the weeks of hurricanes flooding Houston, slamming the Virgin Islands and Puerto Rico, sweeping Florida, and I speak with dear friends who live in that striking environment so unlike this one, but so similarly vulnerable to climate change. I am writing essays about the Osage homeland in the middle of the continent and organizing my novel with an emotional logic. But I’m also curious about the Kenai Peninsula where my husband’s family fished and which was the site of an early oil discovery in Alaska.
It’s also challenging to sit writing in Homer, because you can’t forget that sea otters are likely close to shore, that sand hill crane families glide onto the flats by Beluga Slough each evening.
