Road salt is currently not regulated as a primary contaminant to fresh waters of the United States, although a recommended limit exists ( 8). Water with chloride concentrations >250 mg/liter can impart a salty taste and also contain elevated concentrations of sodium and toxic impurities from road salt ( 9), which are of concern to human health. Increases in salinity up to 1,000 mg/liter can have lethal and sublethal effects on aquatic plants and invertebrates ( 7), and chronic concentrations of chloride as low as 250 mg/liter have been recognized as harmful to freshwater life and not potable for human consumption ( 6, 8). Increased chloride concentrations in surface waters, however, can be propagated a substantial distance from roadways, leading to more widespread effects on water quality. Concentrations of chloride in soils as low as 30 mg/liter have been found to damage land plants, which typically occur in close proximity to roads ( 6). In the northeastern United States, chloride derived from salt is commonly associated with runoff from roads at latitudes above ≈39°N, particularly during winter. Salinization refers to an increase in the concentration of total dissolved solids in water and can often be detected by an increase in chloride, an important anion of many salts. Our analysis shows that if salinity were to continue to increase at its present rate due to changes in impervious surface coverage and current management practices, many surface waters in the northeastern United States would not be potable for human consumption and would become toxic to freshwater life within the next century. Mean annual chloride concentration increased as a function of impervious surface and exceeded tolerance for freshwater life in suburban and urban watersheds. We observed chloride concentrations of up to 25% of the concentration of seawater in streams of Maryland, New York, and New Hampshire during winters, and chloride concentrations remaining up to 100 times greater than unimpacted forest streams during summers. Increases in roadways and deicer use are now salinizing fresh waters, degrading habitat for aquatic organisms, and impacting large supplies of drinking water for humans throughout the region. As a reader, I first began reading him about the same time, 1946, that he began publishing stories in The Southwest Review, reading purely for the pleasure of it he was for me a joyful discovery at just the time when I was discovering everything all at once.Chloride concentrations are increasing at a rate that threatens the availability of fresh water in the northeastern United States.
I like to think that William Goyen was a deep and altogether benign influence on me as a writer.
On the other, he is deceptively “artless”: “So fluid and artless are the stories that they give the impression of being ‘merely narratives of memory.’” He is “the most mysterious of writers,” she writes: “He is a poet, singer, musician as well as storyteller he is a seer a troubled visionary a spiritual presence in a national literature largely deprived of the spiritual.” On the one hand, he is lyrical and visionary. And she focuses on the paradoxical conflicts out of which his singular method grew. In her wonderfully perceptive introduction to Goyen's posthumous Had I a Hundred Mouths: New & Selected Stories, 1947–1983 (1985), Joyce Carol Oates celebrates the originality of his work (“A story by William Goyen is always immediately recognizable as a story by William Goyen.”). Here at home in America, aside from the many other writers who are on record as his admiring readers, he early earned and has maintained the mixed blessings of a kind of cult status. In Europe, thanks in part to able and gifted translators, especially in France and Germany, his work has been highly honored and is widely studied. Not that the man, poet, playwright (five produced plays), and editor (McGraw-Hill), as well as fiction writer, and his work-six novels, five collections of stories, three other works-were or are unknown. It is ironic that, for a number of reasons, William Goyen, one of the most original and innovative voices in twentieth- century fiction, especially the short story, should now need some words of introduction.
It is currently most readily available in The Norton Anthology of Short Fiction (W. It was collected in Ghost and Flesh: Stories and Tales (1952). “Ghost and Flesh, Water and Dirt” was originally published (as “The Ghost of Raymond Emmons”) in the February 1951 issue of Mademoiselle.
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