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Wallace Stegner's Wolf Willow and 1960S Critical Essays: Renarrativizing Western American Literature for the West and for America Ruth Newberry

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Wallace Stegner's Wolf Willow and 1960S Critical Essays: Renarrativizing Western American Literature for the West and for America Ruth Newberry Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2011 Wallace Stegner's Wolf Willow and 1960s Critical Essays: Renarrativizing Western American Literature for the West and for America Ruth Newberry Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Newberry, R. (2011). Wallace Stegner's Wolf Willow and 1960s Critical Essays: Renarrativizing Western American Literature for the West and for America (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/977 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. WALLACE STEGNER‘S WOLF WILLOW AND 1960S CRITICAL ESSAYS: RENARRATIVIZING WESTERN AMERICAN LITERATURE FOR THE WEST AND FOR AMERICA A Dissertation Submitted to McAnulty Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Ruth Newberry December 2011 Copyright by Ruth Newberry 2011 WALLACE STEGNER‘S WOLF WILLOW AND 1960S CRITICAL ESSAYS: RENARRATIVIZING WESTERN AMERICAN LITERATURE FOR THE WEST AND FOR AMERICA By Ruth Newberry Approved November 16, 2011 ________________________________ ______________________________ Linda Arbaugh Kinnahan Magali Cornier Michael Professor of English Professor of English (Dissertation Director) (Committee Member) ________________________________ Michael C. Cahall Assistant Professor of History (Committee Member) ________________________________ ______________________________ James C. Swindal Magali Cornier Michael Acting Dean, McAnulty College of Chair, English Department Liberal Arts Professor of English Associate Professor of Philosophy iii ABSTRACT WALLACE STEGNER‘S WOLF WILLOW AND 1960S CRITICAL ESSAYS: RENARRATIVIZING WESTERN AMERICAN LITERATURE FOR THE WEST AND FOR AMERICA By Ruth Newberry December 2011 Dissertation Supervised by Dr. Linda Arbaugh Kinnahan As writer, essayist, environmentalist, and westerner, Wallace Earle Stegner (1909-1993) confronted what he understood to be an imagined and literal American West constructed by myths of frontier conquest, pioneer settlement in and transformation of the western landscape, and cowboy exceptionalism that erased an historical legacy of hardship, failure, and destruction of land and people, and also a West constructed by Eastern publishers and literary critics who diminished western American literature to local color writing. In Wolf Willow: A History, a Story, and a Memory of the Last Plains Frontier (1962), Stegner uses fiction, history, and memoir to engage the mythic West‘s silencing of his family‘s failed homesteading experiences in a specific western place and the relationship of his childhood and adult selves to this place, to its history, to experiences there, and to the cultural myths that characterize his western past and present and position the West as a symbolic container of hope, opportunity, and reward for the iv individual and America. In an historicized western place and from childhood experiences, Stegner locates an Other western narrative and an authentic western voice that disrupts the monomythic voice and values that are out of touch not only with a modern, multicultural, urban West but also with a rural West. Coming after Wolf Willow, a series of essays—―Born a Square‖ (1964), ―On the Writing of History‖ (1965), and ―History, Myth, and the Western Writer‖ (1967), reprinted in the popular The Sound of Mountain Water (1969)— present Stegner‘s new theory of western American literature that re-visions the West‘s literary heritage and reclaims the western story, what he called ―another kind of western story-telling‖ that engages both the present and the past Wests, acknowledges past crimes against racial others and against western lands, promotes a sense of hope for a native western art, and raises America‘s consciousness of the personal, environmental, and cultural costs of adhering to the metanarratives of the culturally dominant mythic West of formula fiction, Hollywood films, and television series of the 1940s through 1960s. While Stegner scholars have examined the essays independently and deem them important to Stegner‘s works and to the trajectory of western American literature in the 1970s forward, no study has undertaken an extended analysis of these three essays in relation to Wolf Willow to argue, as this dissertation does, that Wolf Willow contains in germinal form the foundation of Stegner‘s realist, place-based, and historicist theoretical construct for western American literature he advocated for in the 1960‘s essays. v DEDICATION For their constant and unwavering encouragement to me to complete what became a very long journey, I dedicate this work to … My children, Laurel Anne and Darren McCaslin, who waited patiently for two decades for this journey to end and were always and foremost my inspiration; My husband, Frederick, a respected and well-versed scholar of American literature who refused respectfully to interject his insights, understood the struggles of the journey, and helped me most by keeping our house and home intact; My parents, Don and Shirley, and my siblings, Linda and Glenn, who also have waited patiently; My late grandmother, Doranna, who, along with my mother, told me the stories about family in western places that nurtured my love for the West and for the value of story; My committee chair, Linda, who never gave up hope even when life and job put this project into long, silent spells; My good friends and colleagues Jacquelyn, Sheryl, Melissa, Eileen, and Joannie whose encouragement never flagged; and My very dear and close friend, mentor, and ―dissertation compatriot,‖ Roberta, who listened to unformed ideas, offered endless support and wisdom, and never let me waver from the goal. vi ACKNOWLEDGEMENT Like Wallace Stegner, I too am a westerner and I love the West. My West is not Wallace Stegner‘s Rocky Mountains of Utah, the Great Plains of Montana and Saskatchewan, or the Palo Alto foothills of California where he built his home. My West is the sagebrush filled mountains and deserts of northern Nevada, the scenic mountains of fir and pine trees and lakes in central Oregon, and the rainy, river-filled Willamette Valley of Oregon—the places of my childhood in the 1960s and 1970s. Like Stegner‘s West of the 1960s, my West also has a strong component of myth and nostalgia. And, like Stegner‘s, it has been populated by stories; in my case, the ―stories‖ of my mother, Shirley Ruth Rizzi Woolery, and my grandmother, Doranna Ellen Womack Rizzi. I grew up listening to their richly detailed and interwoven narratives about family, neighbors, and acquaintances who homesteaded and ranched in the ―wilderness‖ areas of northern Nevada from the 1880s to the present. Through their stories, I learned about the endless obligations of ranch work and the toll it takes on the bodies and souls of men and women, the insularity and narrow-mindedness such a life can breed, as well as the fun and raucousness of brandings and dances and the freedom that comes with wide-open spaces. A pragmatic meliorism, often coated by humor and vivid description, inundated their narratives to reveal their awareness of the constrictive effects of the mythic West‘s gender roles; the fierce and often times destructive and exclusionary nature of its silent, independent hero motif; the lingering tensions between the native Indians and the intruding white settlers; and an anti-intellectualism inherent in the mythic West‘s promotion of self-reliance and individualism. Whether the story-teller is my vii grandmother, my mother, or Wallace Stegner, I am intrigued by how these western stories connect place and people, past and present, history and myth, and the values by which people and communities live. In 1992 I began my journey toward a doctorate in English with a specialization in modern American literature. I never dreamt the journey would not conclude until December 2011. Nor did I realize that I would encounter, as I worked on this project and simultaneously built a career not in teaching as I had originally planned but in the application of technology in teaching and learning, that so many wonderful and encouraging people would sustain me on this mostly solitary journey. Nor did I imagine this project would accompany me to family gatherings in Oregon, Colorado, and Nevada; to conferences across the country; and overseas in Galway, Rome, and Capri! Now that it has ended, I have many people to thank for my success and from whom I have drawn inspiration, strength, and determination to bring this journey to its appropriate close. First and foremost, I must thank my committee members, Dr. Linda Kinnahan, this dissertation‘s director, Dr. Magali Cornier Michael, first reader, and Dr. Michael C. Cahall, second reader. Without their patience and on-going encouragement, especially during the long periods between chapter drafts, this dissertation may never have been completed. To Michael, thank you for your insightful comments and gentle reminders that not everyone is a literary scholar. To Magali, thank you for the close reading and textual comments that helped me focus and conceptualize my argument for the dissertation and what might come later. To Linda, I am forever grateful for your insights, guidance, and encouragement
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