I like smallness. I like the perverse audacity of someone aiming tiny.

His approach, enjoying small spots of nature every day rather than epic versions of wilderness and escape, made sense to me. Big trips were the glaciers, cruise ships to Madagascar, the Verdon Gorge, the Cliffs of Moher, walking on the moon. Small trips were city parks with abraded grass, the occasional foray to the lake woods of Ontario, a dirt pile. Smallness did not dismay me. Big nature travel—with its extreme odysseys and summit-fixated explorers—just seemed so, well, grandiose. The drive to go bigger and farther just one more instance of the overreaching at the heart of Western culture.

If I am guilty of hiding among tinier people in a tinier parallel world, it is because I am searching for other models of artistic success. The small is a figure of alternative possibility, proof that no matter how much the market tries to force consensus, there will always be those making art where the market isn’t looking.

Later I will tell him: our courage comes out in different ways. We are brave in our bold dreams but also in our hesitations. We are brave in our willingness to carry on even as our pounding hearts say, “You will fail and land on your face.” Brave in our terrific tolerance for making a hundred mistakes. Day after day. We are brave in our persistence.

I like the idea of songs sung by those without big voices. You know, small birdsongs that rise above the noise of the city.

How does it happen? At what point is she born, the baffled, wounded adult of tomorrow? Is eleven what we react to for the rest of our lives?