Author: Donald E. Canfield

The air we breathe is 21 percent oxygen, an amount higher than on any other known world. While we may take our air for granted, Earth was not always an oxygenated planet.

How did it come to be this way? Donald Canfield covers this vast history, emphasizing its relationship to the evolution of life and the evolving chemistry of Earth.

He guides readers through the various lines of scientific evidence, considers some of the wrong turns and dead ends along the way, and highlights the scientists and researchers who have made key discoveries in the field.

Author: Annie Dillard

Annie Dillard’s essay “Total Eclipse” begins with stale coffee and roadside chatter but detonates into a primal reckoning with the universe’s indifference.

Published in her 1982 collection “Teaching a Stone to Talk,” the essay documents Dillard’s experience of the 1979 solar eclipse, transforming a celestial event into a visceral confrontation with human fragility.

Dillard lulls readers with the mundane: tourists snapping photos, jokes about “eclipse burgers,” and the nervous anticipation of a crowd waiting for darkness.

Then, with the moon’s first bite into the sun, her prose turns feral. Colors warp, the sky bleeds, as if reality were glitching. This is not a mere description; it is an assault on our trust in the ordinary.

The essay’s power lies in its unflinching honesty. When totality hits, Dillard does not romanticize awe or resilience. Instead, she strips humanity bare: we are temporary creatures dwarfed by cosmic forces. The vanished sun becomes a “black pupil,” the landscape a “film reel skipping.”

Unlike typical nature writing that seeks solace in beauty, “Total Eclipse” offers no comfort. The returning sunlight feels like a lie, the restored world a fragile façade.

Dillard admits she is shaken, haunted by the void’s indifference. It is this refusal to soften the blow that makes the essay endure. In an age of curated awe, her words are a gut-punch reminder: darkness does not care if we blink.  

Stylistically, Dillard masterfully mirrors the eclipse’s arc — calm, chaos, uneasy calm. This is not a science lesson or a spiritual guide, but a raw testimony that some truths cannot be explained, only endured.  

“Total Eclipse” remains vital because it dares to stare into the abyss without blinking. Dillard does not ask us to find meaning but to confront how little meaning there is to find.

And in that confrontation, there is a strange kind of clarity: to see our smallness is to glimpse the universe, unforgiving and vast.