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Reimagining Landscapes Through Barry Lopez's 1 THE EFFECTS OF LITERATURE AS A GUIDEBOOK: REIMAGINING LANDSCAPES THROUGH BARRY LOPEZ’S DESERT NOTES By Samuel T. Gabriels A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: Literary and Cultural Studies Committee Membership Dr. Mary Ann Creadon, Committee Chair Dr. Corey Lewis, Committee Member Dr. Janet Winston, Graduate Coordinator December 2015 2 ABSTRACT THE EFFECTS OF LITERATURE AS A GUIDEBOOK: REIMAGINING LANDSCAPES THROUGH BARRY LOPEZ’S DESERT NOTES Samuel T. Gabriels In “The American Geographies,” Barry Lopez characterizes the Western world’s exploitation of the environment as due to its superficial "knowledge of the real dimensions of the land it occupies." In my thesis, I analyze how Lopez utilizes unique narrative forms and multiperspectival approaches to offer his audience a space to reverse this predicament. By tracking his use of these literary devices, I illustrate how Lopez brings the landscape to the foreground as both his story's reality and a metaphor for the reader's landscape to guide them towards refamiliarizing themselves with each. 3 TABLE OF CONTENTS ABSTRACT .........................................................................................................................2 TABLE OF CONTENTS .....................................................................................................3 FOREWORD .......................................................................................................................4 INTRODUCTION ...............................................................................................................6 THE SEMINAL YEARS ...................................................................................................11 POWER OF STORY .........................................................................................................24 THE GREAT AMERICAN DESERT AS WILDERNESS...............................................35 The Great American Desert Myth ..................................................................................37 The Garden Myth ...........................................................................................................40 DESERT NOTES: A GUIDEBOOK ..................................................................................49 Charles Darwin’s Epigraph ............................................................................................57 “Introduction”.................................................................................................................59 “Desert Notes”................................................................................................................64 “The Hot Spring” ...........................................................................................................70 “The Raven” ...................................................................................................................75 “Twilight”.......................................................................................................................83 “Perimeter” .....................................................................................................................93 “The Blue Mound People” ...........................................................................................105 “Conversation” .............................................................................................................110 “The School” ................................................................................................................115 4 “The Wind” ..................................................................................................................120 “Coyote and Rattlesnake” ............................................................................................127 “Directions” ..................................................................................................................138 CONCLUSION: THE EFFECTS OF LITERATURE AS A GUIDEBOOK ..................147 REFERENCES ................................................................................................................152 FOREWORD Barry Lopez’s writings were introduced to me when I was very young, at a time when I could not have imagined the effect they would have on me. When I was only fourteen, my father handed me his dusty hardcover copy of Desert Notes: Reflections in the Eye of a Raven, a thin collection of short stories accompanied by several monochromatic photos. Quickly flipping through the pages, only pausing shortly to glance at the pictures, I, the stubborn son that I was, tossed the book aside and refused to give it any more of a chance. Several years later, however, quietly and without telling my father that I was taking his copy, I began to read the collection of short stories. Having grown up in the Adirondack Mountains of New York, the concept of the desert was an exotically desolate place for me; I would never have contemplated going to a land where there were no looming pines, a promise of snow, or an abundance of water. But, that second time when I picked up the book, something captured my imagination. To 5 start, it was the color photo on the front cover: a lone wooden rocking chair with its shadow stretched out beside it, waiting to be filled so that one could sit at the edge of the expansive aridness and look across to the hills that place a finality on the seemingly infinite. It was this picture, and possibly the sense of defiance this book represented, which had me open it. Reading the stories rather hastily, I finished the eighty-nine pages in a day, only to begin reading the stories once again, this time more deliberately. It was the metaphors and the inordinate amount of detail that Lopez provides about encountering the landscape of the desert that captured me. His poetic verse delivered a profound experience of what I had assumed to be an unapproachable landscape. It was then that my attitude towards the desert stood transformed. Still a land of desolation, it had promise, it had meaning, and it contained a life of its own. That very same year, I was blessed enough to travel and hike through the vast expanses of the deserts that make up the Southwest. Camping under the stars, hiking through dunes, red rocks, and expansive dry lakebeds, I became acquainted with the diversity of the desert. Reminiscing, I now see that Lopez’s prose inspired me to reassess my conception of the desert landscape in which I was traveling. His writing style revealed how a story could have me reimagine my conception of a landscape. Following these revelations, I came to cultivate a harmonious relationship with landscapes and yearned wherever I went to revere the intricate mysteries that each landscape had to offer. 6 INTRODUCTION “When human beings lose their connection to nature, to heaven and earth, then they do not know how to nurture their environment or how to rule their world—which is saying the same thing. From that perspective, healing our society goes hand in hand with healing our personal, elemental connection with the phenomenal world” (Trungpa 101). I begin with these spiritual words from the Buddhist, Chogyam Trungpa, not only to offer a relevant thought that addresses the environmental crisis that is a plight of our planet today, but also to introduce a key concept of this paper. Marc Bekoff, a trained biologist and ecologist, reiterates this spiritual idea when he states that “as we unwild [become defamiliarized with the phenomenal world], we lose compassion and empathy for other beings and for nature as a whole” (35). Both of these thoughts are recapped within the book The Environmental Imagination when Lawrence Buell contends that today’s “environmental crisis involves a crisis of the imagination the amelioration of which depends on finding better ways of imagining nature and humanity’s relation to it” (2). Furthermore, it is Barry Lopez’s similar conviction that “the more superficial a society’s knowledge of the real dimension of the land it occupies, the more vulnerable the land is to exploitation, manipulation for short-term gain” (“The American Geographies” 62). This concept illustrates the inspiration for Barry Lopez’s writings and validates his pursuit to refamiliarize his audience with a landscape. 7 Within his essay “Landscape and Narrative,” Lopez personally articulates the potential for a story to address and reverse society’s estrangement from the phenomenal world. As he does this, he simultaneously depicts the key function of the majority of his writing: “[i]nherent in story is the power to reorder a state of psychological confusion through contact with the pervasive truth of those relationships we call ‘the land’” (Crossing Open Ground 68). With this paper, I wish to explore the manner by which Barry Lopez’s collection of short stories, Desert Notes, came to have such an effect on me as a reader. At the same time, I investigate the means by which Lopeze uses both a blend of narrative forms and multiperspectival approach in his stories, both of which allow him to create a space where his readers may reimagine themselves back to a harmonious reengagement and enchantment with the phenomenal world. Thus attaining a comparable outlook on landscapes to the one that was cultivated in Lopez at an early age. While Lopez draws details directly from the desert landscape, his stories transcend the physical setting and create a space where the reader
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