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Omen of Mere Event: Vignettes in a Post-Wilderness Landscape

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Omen of Mere Event: Vignettes in a Post-Wilderness Landscape AN ABSTRACT OF THE THESIS OF Aaron A. Schultz for the degree of Master of Arts in English presented on April 14, 2015. Title: Omen of Mere Event: Vignettes in a Post-Wilderness Landscape. Abstract approved: ______________________________________________________ W. Chris Anderson This thesis uses a series of non-fiction vignettes to explore objects, agencies, and networks, applying theories of rhetoric and composition directly to experience and vise versa. Focusing on agency—as understood through sociology’s actor-networks, post- humanism’s Object Orientated Ontology, and Ecocriticism’s ecological approach—I look at events, landscapes, and partnerships that have shaped who I am and why I write. I find that when life is viewed as a nexus of agencies instead of as a hierarchy, with humans as dominant agency, wilderness becomes a quality of existence that humans already possess in the form of creativity. Once we tap into that quality to examine existence, we discover that we cannot exist without partnerships, and we owe much of our experience, writing, and creativity to the unseen influences of these partners. ©Copyright by Aaron A. Schultz April 14, 2014 All Rights Reserved Omen of Mere Event: Vignettes in a Post-Wilderness Landscape by Aaron A. Schultz A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented: April 14, 2015 Commencement: June 2015 Master of Arts thesis of Aaron A. Schultz presented on April 14, 2015 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes release of my thesis to any reader upon request. Aaron A. Schultz, Author ACKNOWLEDGEMENTS A wise person once said, “How you work is as important as who you know,” or something like that. The point being that there were many communities and people who were instrumental to this thesis. There are several people at Oregon State University I’d like to thank. Chris Anderson, my thesis chair, for his mentorship and guidance in the writing process and keeping me confident in the voice for this thesis. Ehren Pflugfelder, a thesis committee member, for the numerous conversations we had about rhetorical theory and agency. Sara Jameson, a thesis committee member, for her final revision feedback on my thesis and conversations about life and thesis over coffee. Steven Rupert, thesis committee member, for our digressive coffee talks and his enthusiasm and desire to serve on my committee the last term before retirement. Jennifer Richter for unlocking my dormant poetic and personal voice through her class on myth. Rebecca Olson, through her class on the history of the material book and for the space to explore the connection between black holes and bibles. Thanks also goes to all my colleagues at Portland Community College. Mark Easby, Penny Thompson, Porter Raper, Kendi Esary, and Gardner Mein. Sparking my writing and desire to be a teacher, they are the reason I went to graduate school and each has mentored and encouraged me along the way. Without their guidance over the last three years, I would still be a lost soul without a job. My family was key and deserves much more gratitude than I will ever be able to show. Our newest family member, Sunshine, who is the same mix as Winter, except cute instead of diesel, is a good fit for the shift in life that has put me in front of a computer more than in the mountains. Jennifer Cooper, my wife, for her support, encouragement, and housework during the course of my whole degree. Finally, gratitude beyond language goes to my dog, Winter. Her unbroken line of companionship for the last twelve and a half years has helped me understand the textures of patience and unconditional love. She may not be able to climb mountains anymore, but she still jumps off her bed (more like a stiff rocking motion propelling her up and forward) ready for any adventure. TABLE OF CONTENTS INTRODUCTION .......................................................................................................................................... 2 PERSONAL GEOGRAPHIES: WORLD BUILDING ...................................................................... 12 I. ................................................................................................................................................................. 15 II. ............................................................................................................................................................... 17 III. .............................................................................................................................................................. 19 IV. .............................................................................................................................................................. 21 V. ............................................................................................................................................................... 22 VI. .............................................................................................................................................................. 29 VII. ............................................................................................................................................................ 32 VIII. ........................................................................................................................................................... 33 IX. .............................................................................................................................................................. 34 X. ............................................................................................................................................................... 35 XI. .............................................................................................................................................................. 38 XII. ............................................................................................................................................................. 39 XIII. ........................................................................................................................................................... 41 XIV. ........................................................................................................................................................... 42 XV. ............................................................................................................................................................ 44 XVI. ........................................................................................................................................................... 47 XVII. .......................................................................................................................................................... 49 PERSONAL SENSORY BUBBLE: SITUATING ONESELF IN THE WORLD .............................. 50 I. ................................................................................................................................................................. 52 II. ............................................................................................................................................................... 55 III. .............................................................................................................................................................. 57 IV. .............................................................................................................................................................. 60 V. ............................................................................................................................................................... 61 VI. .............................................................................................................................................................. 63 VII. ............................................................................................................................................................ 65 VIII. ........................................................................................................................................................... 66 IX. .............................................................................................................................................................. 67 X. ............................................................................................................................................................... 68 XI. .............................................................................................................................................................. 70 XII. ............................................................................................................................................................. 72 XIII. ........................................................................................................................................................... 74 XIV. ..........................................................................................................................................................
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