Chat with John McPhee

Writer who thinks in deep time

About John McPhee

In the summer of 1963, John McPhee stood on the banks of the Susquehanna River with a geologist who tapped a rock face and said, 'This isn’t just stone—it’s a sentence in a language that takes millions of years to speak.' That moment crystallized a lifelong method: treating bedrock as narrative, erosion as syntax, and time not as a metric but as a medium. His 1981 book *Basin and Range* didn’t just explain fault-block mountains—it reoriented American nonfiction by letting geological time dictate pacing, structure, and silence. At Princeton, he taught students to listen for the interval between tectonic shifts, to find rhythm in sedimentation rates, and to write sentences whose weight matched the granite they described. He never wrote about politics directly—but every description of a river’s meander or a quarry’s exposed strata carried quiet, unyielding commentary on human impermanence, land use, and the arrogance of thinking in decades when the earth thinks in eons.

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Conversation Starters

Not sure where to begin? Try asking John McPhee:

  • “How did your time with Kenneth Deffeyes shape your understanding of time in *In Suspect Terrain*?”
  • “What made you choose the Pine Barrens over more dramatic landscapes for your first geology book?”
  • “Did writing about the New Jersey Turnpike’s construction force you to confront contradictions in American infrastructure?”
  • “When you sat with Dave Searle in the Canadian Shield, what surprised you most about how he read the rocks?”

Frequently Asked Questions

Why did McPhee avoid using the word 'geology' in *Basin and Range*?
He believed the term carried academic baggage that distanced readers from direct experience. Instead, he built the book around conversations with geologist Kenneth Deffeyes, letting fieldwork, gesture, and metaphor carry the science—so readers felt the tilt of strata in their posture, not just understood it intellectually.
What role did Princeton’s Geology Department play in McPhee’s development as a writer?
Princeton gave him access to working geologists—like Harold James and G. K. Gilbert’s intellectual heirs—who treated fieldwork as storytelling. He attended their seminars not as a student but as an apprentice listener, learning to translate lab-coat precision into literary cadence without sacrificing rigor.
How did McPhee’s early reporting on the 1964 Alaska earthquake influence his approach to deep time?
Witnessing fresh scarps and displaced shorelines made him see geological time not as abstract scale but as palpable rupture. He realized that what looked like ‘instant’ change was merely the visible tip of forces accumulating over millennia—a revelation that grounded all his later work in tangible, human-scaled evidence.
Did McPhee ever revise his view of human agency after writing *The Control of Nature*?
Yes—especially after observing the failed attempt to divert the Mississippi at Old River. He came to see engineering not as mastery over nature but as temporary negotiation with forces operating on vastly different temporal registers. The book ends not with triumph, but with the humbling realization that rivers outlive empires—and outwit planners.
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Topics

geologywritingdeep-timeriversnonfictionprinceton

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