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A Reading of Thoreau's “Walking” As a Travel Universidade Federal de Santa Catarina A READING OF THOREAU’S “WALKING” AS A TRAVEL NARRATIVE Camila Alvares Pasquetti 2005 UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLES E LITERATURA CORRESPONDENTE A READING OF THOREAU’S “WALKING” AS A TRAVEL NARRATIVE Por Camila Alvares Pasquetti Dissertação submetida à Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção de grau de MESTRE EM LETRAS FLORIANÓPOLIS Junho, 2005 UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLES E LITERATURA CORRESPONDENTE A READING OF THOREAU’S “WALKING” AS A TRAVEL NARRATIVE Por Camila Alvares Pasquetti Dissertação submetida à Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção de grau de MESTRE EM LETRAS FLORIANÓPOLIS Junho, 2005 ACKNOWLEDGMENTS I thank everybody with whom I have exchanged stories during the period I was researching and writing this thesis. Special thanks to Eliza, Joe, Béco, Vincent, Eli, Aline, Telma and Juliana. Thanks to Gabe Rodrigues for our dialogues on history, to Alberto Siedler for the great dictionary, and to Daniel Moore, my careful reader. Thanks to all my professors, especially to José Roberto O’Shea, who opened the doors of his library to me, to Anelise Corseuil, who guided me at the beginning of this work, to Eliana Avila for the great course on “War and Poetry,” and for participating in my committee together with Glaucia Gonçalves – your comments really shook my mind! Thanks to Marta Oliveira, for introducing me to American Literature. Thanks to my professor and adviser Maria Lúcia Milléo Martins who encouraged me in this research and who enriched my text with her poetic view. Thanks to Cleber Teixeira, whose love for books is contagious. To my parents Mara and Carlos, for everything. I also thank the support of Arlene, Nelson and Muriel, my “relatives” in Florianópolis. Finally, I feel glad for having had the opportunity to do this research at Universidade Federal de Santa Catarina. June 7, 2005 ABSTRACT A READING OF THOREAU’S “WALKING” AS A TRAVEL NARRATIVE CAMILA ALVARES PASQUETTI UNIVERSIDADE FEDERAL DE SANTA CATARINA 2005 Supervising Professor: Maria Lúcia Milléo Martins This thesis analyzes Henry David Thoreau’s essay “Walking,” first published after his death in 1862, with respect to the history of the United States and European travel accounts in Imperial times. Attentive reader of European nature writers and explorers, Thoreau was recalled by poets and literature writers, and also became celebrated by the field of environmental studies, being referred as founder of ecology. Thoreau’s walks in wilderness, accounted in “Walking,” contradict and at the same time endorse the means through which the United States people were running west at the time: he frequently goes in the same direction, but shows no hurry to get at any place, and calmly searches for what is “holy” along the path. Thoreau’s emphatic discourse against private property confronts the main United State’s principles, while the author creates his figure as a hero of the individual rebelliousness, a defendant of his own way to walk. Like in other travel accounts where the narrator finds himself in an uncivilized space, the “I,” who is the hero of the narrative, sees his western horizon as empty of culture, a place to be founded, this time, upon a new mythology grounded on nature. “Walking” is read here as a transcendental manifesto about movement and perception that is much related to the history of its composition and to its readings since then. No. de páginas: 107 No. de palavras: 31.162 RESUMO UMA LEITURADE “WALKING”, DE THOREAU, COMO NARRATIVA DE VIAGEM CAMILA ALVARES PASQUETTI UNIVERSIDADE FEDERAL DE SANTA CATARINA Professora Orientadora: Maria Lúcia Milléo Martins Esta dissertação analisa o ensaio “Walking”, de Henry David Thoreau, publicado após sua morte em 1862, sob a ótica dos relatos de viagens europeus de tempos imperiais e da história dos Estados. Leitor atento de narrativas de viagens e textos naturalistas Europeus, Thoreau foi retomado por poetas e também celebrado no campo dos estudos ambientais, sendo considerado por estudiosos da área como fundador da ecologia. Suas caminhadas na natureza selvagem relatadas em “Walking” contradizem e ao mesmo tempo reiteram os meios pelos quais os Estados Unidos avançavam à oeste naquele tempo: apesar de Thoreau frequentemente caminhar na mesma direção, ele não demonstra ansiedade em chegar à algum destino específico, mas busca calmamente aquilo que aos seus olhos pode ser sagrado ao longo do caminho. O discurso enfático de Thoreau contra a propriedade privada confronta os princípios morais de seu país, ao passo que Thoreau se promove como o herói símbolo da rebeldia individualista, um defensor da sua própria maneira de caminhar. Como em outras narrativas de viagem onde o narrador se vê em território não-civilizado, o “eu”, herói da narrativa, enxerga seu horizonte à oeste como um espaço vazio de cultura onde uma nova mitologia, desta vez baseada na natureza, está para ser fundada. “Walking” é lido aqui como um manifesto transcendental sobre movimento e percepção que está intrinsecamente ligado à história de sua composição e à suas leituras desde então. N° de páginas: 107 N° de palavras: 31.162 INTRODUCTION The writings of Henry David Thoreau are widely known in the United States and abroad. Critics such as Lawrence Buell recognize Thoreau’s high popularity and, moreover, take as a premise in their critical work the readers’ reverence for Thoreau as a United States folk hero (Buell 175). Fernando Gabeira, Brazilian writer, journalist and political activist, recognizes Thoreau as the ascendant of several modern rebels (Drummond 8). These testimonies are examples of how Thoreau has been read around the globe throughout the years, leading his writings to be broadly considered canonical. Buell says “Thoreau has become the closest approximation to a folk hero that American literary history has ever seen and (…) Concord is still America’s most sacred literary spot (…).” The word canon, as used here, and according to Buell, refers mainly to the cultism that a literary piece provokes, and the study of its “canonical investment,” that is, “the rituals of remembrance through which those regarded for whatever reason as literary heroes become enshrined” can not be denied or left aside (175). Thoreau’s works reveal an intense preoccupation with the nature of perception (and the perception of nature), presenting a concern with his time and society, but also a preoccupation with the future, which his eyes cannot capture but his mind can visualize. In order to talk about Thoreau’s ideas on perception, I recur to Sergio Cardoso’s article “O Olhar Viajante (do Etnólogo).” In it, the author discusses the difference between the acts of seeing (“ver”) and looking (“olhar”) in relation to the concept of travel (“viagem”). He points out that the act of seeing the world is our most primitive certitude: things are what the eyes assimilate. For the one who sees, nothing is strange, the world is plain and each part of it composes the whole. The act of looking, however, carries an intentional connotation: the subject who looks has the power and responsibility of interfering with the object that is being regarded. The look, therefore, is not passive; one moves forward instigated by the curiosity to “see again,” or to “see the new” (348). “The look thinks, it is vision made of questionings” (349 my translation1), and the one who looks transforms the object that is regarded by interpreting the gaps in its significance. Cardoso connects this differentiation between seeing and looking with the idea of traveling: one who preserves a stable life close to things that can be reached or seen, is put in opposition to one who looks for the unknown, thus, who travels. The eye of the traveler is the eye which moves in space and time in search for the strange, for what is unfamiliar, that is, for what is not stable or ordered – it is the eye which looks for the “other” and for the “new.” In this sense, traveling is primarily an activity related to the look, instead of to physical displacement, and this is one of my arguments to read Thoreau’s “Walking” as a travel account. Thoreau is broadly known as an author who privileged a life close to nature and who strongly criticized the established social orders. These assumptions are well represented in Thoreau’s most popular books, Walden and Civil Disobedience. It could be said, though, that these two works have nothing to do with literature of travel since this subject rarely takes place in the texts— while Walden recounts a period of life in the woods of Walden Pond, Civil Disobedience emerged from the reflections Thoreau made when spending a night in jail. According to biographies, Thoreau has never traveled far from his home-state Massachusetts (Sayre 1043), but still his first publication, A Week on the Concord and Merrimack Rivers is itself a travel account along the rivers Concord and Merrimack—mentioning travel writers and practical advices for travelers about what to take on a journey (Adams 145). But even if Walden is seen by critics like Stephen Adams as an account of a journey 1 Cardoso’s discussion relies upon word concepts – the translation of those terms in quotes may no fit well into English: “O olhar pensa; é a visão feita de interrogação” (349). where Thoreau sojourns Walden Pond “after traveling a good deal in Concord” (145), still to read him as a travel writer means to face the contradictions present in the kind of travel he proposes. Reading Thoreau as a travel writer today demands a certain awareness of the gap between the notions of traveling at his time and today.
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