In the arid West, water verbs are often bureaucratic. Rivers, streams and lakes are allocated, decreed, diverted, divided and used. Droplets are distributed to serve human needs. Scarcity drives the narrative in many of the region’s watersheds, where streams are given jobs—to irrigate crops, water lawns and flow through kitchen faucets. Water is a utility.
In her new anthology, Albuquerque-based author and journalist Laura Paskus invites readers to dispense with those concepts, and instead rethink their relationship to their favorite creek or pond. “Water Bodies: Love Letters to the Most Abundant Substance on Earth” is out this month from Torrey House Press.
Mostly featuring writers in the West, the collection includes essays and poems that delve into the personal, intimate connections that local watering holes can provide. It asks readers to think of the mystical and meaningful ways that rivers weave through human lives.
In early 2023, Laura invited me to write an essay for the book. In that message, she said she was looking for “ragged, heartfelt, sexy, raucous, loving, and wild essays and poems about western water.” Who could turn down that kind of invitation? I obliged, and my essay titled “Skinny-Dipping” is a chapter in the book.
To learn more about the book and the process of pulling it together, I sat down with Laura for an interview.
The following has been edited for length and clarity.
Luke Runyon, The Water Desk: So, there are a lot of books about water in the West out there. What makes this one unique or different from the rest of the pack?
Laura Paskus: As a climate reporter, environment reporter, water reporter, I’m often thinking about and writing about water on these big, landscape-level scales, like a watershed, or an entire portion of a river basin within a state. That’s great, and those stories are really important, but I wanted to create something that reminded us that water is extremely local and extremely personal.
So I reached out to and started with some of my favorite journalists, like yourself, who write about water in the West in a journalistic way. I reached out to you all saying, “I like the work that you do, and it’s important, but what I really want you to do is tell me a story about water that maybe you wouldn’t talk to anybody about or really want anybody to know.”
I really feel really lucky that I know personally so many of these writers who I admire, and could ask them to take the time to write these really, really personal essays about the waters that they love.
LR: Tell me about the title, “Water Bodies.”
LP: In the past few years, I’ve become pretty obsessed with this idea or belief that water has her own or their own consciousness and will and desire. As a journalist, I write about water all the time as irrigation water, water rights. Even water for ecosystems—it’s always water for something else.
I’m a little bit smitten with this idea of connecting with water as her own being. In the essay that I ended up writing for this anthology, I wrote about something that I’ve never talked about before, and that is this weird family story. It’s part of my past that I don’t really like, and I don’t really understand. But the more I thought about it and have thought about it over the decades, it’s a story that is a huge part of who I am. It’s probably why I obsess about water, and why I’m a little bit obsessed with this idea of water as having its own consciousness.
LR: Most of the contributors are based in the West. Do you think that Westerners have a unique relationship to water compared to other parts of the country or other places in the world?
LP: I want to say, yes, that we do. But I know people in every other part of the world would be like, whatever. In the arid West, in particular, I think we do have a unique relationship with water, because we’re always craving it, seeking it, hoping for it, praying for it.
As the West has been warming, and we’re seeing these bigger and more catastrophic wildfires, and now in New Mexico and certainly lots of other places in the West, I think our relationship with rain is changing. It used to be in summertime you could wholeheartedly pray for and wish for and hope for rains. Now, with the burn scars and the flooding that comes off of those burned soils, rains are also really scary and terrifying and destructive.
So I think in the arid West, in particular, we do have a really thoughtful relationship with water in ways that maybe other people don’t.
LR: Can you give some examples of the pieces that are in this book?
LP: Christi Bode, who is a documentary filmmaker in Colorado and does a lot of great work around water and community, wrote a really personal essay about watching the dwindling snowpack every year at the same time that she’s dealing with some really hard health issues and related heart issues. So she really opened up her heart, and I feel like she took a really beautiful risk with what she wrote.
Regina Lopez-Whiteskunk, who does incredible work around Bears Ears [National Monument] and all sorts of important issues around Colorado and in the Four Corners area, wrote a piece about learning how to carry water as a young woman, and the responsibility that that holds for her. I really love her essay.
Daniel Rothberg, another Western writer I adore, wrote about his relationship with water in the West. He grew up in Los Angeles, and he lives in Reno and is grappling with his relationship with water and moving water.
Another friend, Desiree Loggins, she’s an academic, and she wrote an essay about living at Zuni Pueblo and learning the history of the Black Rock Dam there. I just am so in love with everybody that contributed.
LR: What are you hoping that readers take away from this?
LP: I hope that everyone who reads it thinks about, “What waters do I love? Do I love the hiss of the water in my sauna at home? Do I love the rain? Do I love my town’s little river?”
I hope that people think about the waters that they love and why they love them and remember that those are worthy. I feel like there is this idea in our culture these days that it has to be big to be good, or it has to be far away to be special. I love connecting with where we are in really small and beautiful and long-lasting ways.
I know that this is a lot to ask people, but it is my hope that people who buy the book write all over it, that they write in the margins about waters that they love. I hope they flip it upside down and write a haiku on the side of it. I hope that these books get dirty and wet and covered in new words.
