I know this forest.
I know the way this Autumn day, touched by mist, has colored the trees. I know how stones are piled upon stones, and the savage darknesses that are within them. Therein insects lie.
I know what I can see, and I know the small metal box, what I wear strapped over my shoulder, that I like to imagine sees with the same knowledge. A thick lens I have often lifted, letting in light: frames full of golden reeds, half-blurred in movement. Or a frame showing the forming dusk, trees silhouetted against the bend of a river. This they know me for.
But as I walk through the trees, and lift my camera to catch the slightly drifting leaves, something unexpected appears. A white robe, perhaps, beyond a patch of birches and I cannot be sure. A woman’s blonde hair, I thought I saw.
Was this how I came that day to an unknown grove?
For the past month, I hadn’t shot anything worth shooting. The landscapes I had grown up with seemed to offer nothing: celluloid visions of twigs and stumps; dirt and dead leaves. I couldn’t have been certain of anything I had seen, but somehow I could sense that the time was right to explore, never mind how much I doubted what I had seen so far in the distance.
If there had been a woman there, a person, now that would have been a subject worth capturing. Then, marrying the human figure to the landscape, perhaps I could have broken the endless nothing that my hobby was beginning to become. I raised the lens and looked in the same direction, but this time in the narrow camera frame no suspicious figure emerged: just the quite amber stillness of trees resisting the wind dispassionately.
I sighed and started forward, first slowly but then quickly as some part of me began to suspect and suspect that I had seen something, that it had not been simply a delusion, the product of a bored mind.
Soon enough the forest with its tall firs began to thin, and I came to a wide clearing, still soft with the touch of dew. A profound sense of isolation settled upon me; I knew objectively that not far, not far at all, there were people, and the safety of a crowd. But there in the clearing, I could not help but think that I was desperately alone. And there before me, at the opposite end of the field was an old New England stone wall.
I walked up to it, to where the field ended. Looking down at the light gray stones, I spotted a black centipede moving past; by the time I had uncapped the lens it was gone. Looking into the forest ahead, I could see that as I would draw inwards, it would grow thicker.
As I lifted myself over the wall, I saw that in the ground, not more than fifty feet away from me, was a stone circle, several feet in diameter. It had been constructed out of innumerable small stones, much like a Byzantine mosaic. Curious, I approached it; on the stones were: a small stretch of tattered stained red rope, a pair of broken glasses, a small pile of ash, and the scent of burnt sage.
I knelt down on the ground beside the circle and focused the lens. The ground was cold. The light was right, and the scene felt perfect in black and white. I went through a few shots, but then set the camera down. After a few moments, I sat down and took the scene before me in. I realized, suddenly, that I had forgotten all about the vision that had brought me to this place. Had I imagined a woman in the distance? I could have never imagined that I would find something like this in the state park. In the end, I couldn’t come up with any answers. Slowly, I pulled out my cell phone and prepared to dial the police.