UVM Theses and Dissertations
Format:
Print
Author:
Swenson, James
Dept./Program:
English
Year:
2010
Degree:
MA
Abstract:
The husk ofthis thesis was conceived while I was taking two courses: one on wilderness literature, and the 'other a private study, creative, "nature" writing. After a semester ofapproaching nature writing from within and without, I quickly realized that I had brought strong romantic preconceptions of what I considered this kind ofwriting to be. I imagined the wilderness as something to which a character could go, have an experience, and return to civilization all the stronger. In other words, it was ultimately a stage against which humans could test themselves, and not much more. I began to question how we (specifically Americans) define nature, why we define it as such, and what the problems are that accompany this definition. Our definition of nature has varied over time, but this conception is currently shaped by our desires and problematic ideologies that pit us against nature rather than within. The stories we tell and retell are closely linked to these ideologies, and real problems arise when we inhabit myths that no longer fit.
In this thesis, I approach my broad topic area, contemporary nature writing, from two angles: critical and creative. The first part ofmy critical section discusses our current distance from what we conceive to be nature and traces the historical roots of this problem. I then move into a discussion of how, in order to effect change, we must reconsider several aspects of our worldview: especially the stories we tell. The second part of my critical section outlines several tenets ofwhat I consider responsible nature writing, and demonstrates how several outstanding nature writers apply some or all ofthese tenets to their art. I address how these writers work to make their readers rethink humanistic progress, static names (as opposed to processes), singular teleological time, distinct boundaries, myopic points of view, and finally, formal boundaries of storytelling. As I wanted to explore this from within as well as without, I have chosen to apply my theories to a story about a summer I spent living, working, and hiking/climbing in Mt. Rainier National Park. This piece has strong human elements, though I attempt to decenter my perspective and relocate these stories within, rather than on top of, the natural world.
In this thesis, I approach my broad topic area, contemporary nature writing, from two angles: critical and creative. The first part ofmy critical section discusses our current distance from what we conceive to be nature and traces the historical roots of this problem. I then move into a discussion of how, in order to effect change, we must reconsider several aspects of our worldview: especially the stories we tell. The second part of my critical section outlines several tenets ofwhat I consider responsible nature writing, and demonstrates how several outstanding nature writers apply some or all ofthese tenets to their art. I address how these writers work to make their readers rethink humanistic progress, static names (as opposed to processes), singular teleological time, distinct boundaries, myopic points of view, and finally, formal boundaries of storytelling. As I wanted to explore this from within as well as without, I have chosen to apply my theories to a story about a summer I spent living, working, and hiking/climbing in Mt. Rainier National Park. This piece has strong human elements, though I attempt to decenter my perspective and relocate these stories within, rather than on top of, the natural world.