Posts Tagged ‘wilderness’
September 9, 2015 | by Dan Piepenbring
- Sherman Alexie chose a poem by Yi-Fen Chou, a Chinese American, for this year’s Best American Poetry anthology. But Yi-Fen Chou was a pseudonym, it turned out, for Michael Derrick Hudson, a white guy. Now that he’s elected to include the poem anyway, Poetry Twitter is inflamed. But “I did exactly what that pseudonym-user feared other editors had done to him in the past,” Alexie says: “I paid more initial attention to his poem because of my perception and misperception of the poet's identity. Bluntly stated, I was more amenable to the poem because I thought the author was Chinese American.”
- Arthur Heming, the Canadian “painter of the great white north,” was diagnosed as color-blind when he was a kid; this motivated the strange palette of black, yellow, and white he used for most of his career in the early twentieth century. “Thematically, he worked with scenes whose colors were appropriately blanched: winter hunting and trapping expeditions that he took for the Hudson Bay Company and alongside people of the First Nations. His narrow focus in painting mirrored his work as a traveler, novelist, and illustrator, and the commercial nature of his output certainly influenced the mixed reception he received in the art market. In Canada he existed as an outsider of both the trapping communities he traveled with in the north and of his peers in the fine art world.”
- Rob Chapman’s new cultural history of LSD reminds us that psychedelia’s day in the sun wasn’t just some trippy bullshit in a kandy-kolored vacuum—it was a short-lived, potent moment with lingering political aftereffects. “Chapman insists that Hendrix, far from wandering up his own psychic fundament, ended up directing psychedelia’s transformative sonic potency against the state. ‘After Woodstock [in 1969], the atrocities of carpet-bombing and village burning were soundtracked by the symbolic flag-shredding that takes place during Hendrix’s extraordinary rendition of “The Star-Spangled Banner.” ’ ”
- And maybe, for a later generation, early video games were just as mind shattering as a tab of good acid: “I think Super Mario World was altering our perception long before acid or psilocybin mushrooms … the player irrevocably changes the landscape of Super Mario World. Empty space becomes solid matter, and you can access new parts of the game. Within the blink of an eye, the world, as well as the player’s view of the virtual world, transforms … Thirteen years later, I’d discover that LSD could similarly expose sediment layers of reality that I didn’t previously know about, thereby changing my perception in both immediate and permanent ways.”
- In 1906, a New Yorker named Julia Rice founded the Society for the Suppression of Unnecessary Noise, one in a continuing line of noble but ill-advised measures against the sounds of the city. In this case, the culprit was tugboat noise. “The campaign was related to the idea of a neurosis called ‘Newyorkitis’—an illness that arose from an unhealthy addiction to noisy environs. Her campaign was crowned with success: in 1907 Congress signed a law reducing the frequency of ships’ whistles in federal waters … However, Rice seems to have enjoyed quite a bit of noise in her life: her six children played instruments and the family allegedly kept a number of cats and dogs.”
July 30, 2015 | by Lance Richardson
How Aldo Leopold came to conservationism.
On the first day of April 1944, Aldo Leopold sat down at his desk to craft a confession. Leopold’s reputation was already growing across the country—a champion of modern wildlife management and the father of the Gila Wilderness, he was known as a good man and great teacher—but this would be something new and strange from a figure many would come to revere as the patron saint of American conservation. Leopold had recently received a letter, one in a long series of correspondence with his friend, Hans Albert Hochbaum, critiquing the essays Leopold was slowly producing for a book. Hochbaum mentioned the wolf, an animal that remained conspicuously absent from Leopold’s drafts: “I think you’ll have to admit you’ve got at least a drop of its blood on your hands.”
Hochbaum was talking generally, but the comment reminded Leopold of an incident that dated back to 1909, when he was just twenty-two. Read More »
April 15, 2011 | by Maud Newton
To be a fire lookout, Norman Maclean once wrote, isn’t a matter of body or mind, but of soul. Philip Connors should know. He’s spent a third of each year for nearly a decade watching for smoke in the Gila National Forest. His new book, Fire Season, which started as a diary in The Paris Review, is at once a fascinating personal narrative, a history of "a vocation in its twilight,” and a poetic tribute to solitude and the natural world. Connors examines the wilderness and his experience of it by turns from a remove, dispassionately, and up close, with great feeling, and evokes a whole world in charming but disciplined prose. He’s funny but not self-indulgent. He’s plainspoken but not condescending or tinnily folksy. Without being didactic or blinkered, or even obvious about what he’s doing, he offers an impassioned defense of a life and place he loves.
Your lookout tower stands on a mountain that rises more than ten thousand feet. From it you can see the first wisps of smoke below, but you can also—when things are calm—write. How much of the book came into being up there in your seven-by-seven-foot glass box in the sky?
Once I signed the contract, I had romantic visions of feeding a giant roll of paper into my typewriter and cranking out a record of events as they happened that season in the lookout, writing it all down the way Kerouac wrote On the Road. Foolishness! As I sat there that summer, the thought of immortalizing my experience between hard covers paralyzed me. I couldn’t get started. So I developed strategies to generate raw material I could draw on later. The most successful of these involved typing long letters to my editor, Matt Weiland, about everything I was seeing, everything that was happening, and just trying to stay unself-conscious about the writing. On my days off I’d hike down with the letters, make a quick photocopy for my files, and drop them in the mail to New York. Anything that moved him or intrigued him eventually led me down a fruitful path. Anything that left him cold I abandoned. This meant that I didn’t start writing the book until fire season was over and I was back in town. I needed time to sift through what of the experience was worth recounting and what was not. The goal became to write a book about watching mountains that left out the boring parts—easier said than done.
February 10, 2011 | by Caitlin Roper
David Vann’s Caribou Island is my favorite novel of the past few years. I read it last summer for possible excerpt in The Paris Review. It’s the story, set against the striking landscape of the Kenai Peninsula of Alaska, of Irene and Gary, whose thirty-year marriage is collapsing. The story is disturbing; I read it quickly, consumed. I loved the book so much that I was reluctant to see that an excerpt wasn’t working. The story was so powerful as a whole—it was irreducible. I recently had the chance to talk to Vann.
You alternate between characters’ points of view, and between their stories. How did the shape of the book come about?
None of it was planned. I was writing seven days a week, a few pages every day, and those were where the chapters ended. It really was such a blind process writing the book. I didn’t know each day what the characters would do or say; I didn’t know when a chapter would end; I didn’t know what the next chapter would be or where it was headed. And so with each chapter, I felt like it had come to where it closed, and then each time, luckily, there was some clear sense of where to go next.
How long did the book take to write?
Five and a half months.
I started it fourteen years ago when I finished Legend of a Suicide, and I only got forty-eight pages in, and then I just couldn’t figure out how to write a longer arc. I didn’t know whose story it was or where it was supposed to focus, so I put it away. That’s when I went to sea and became a captain and wrote A Mile Down: The True Story of a Disastrous Career at Sea. I couldn’t get Legend of a Suicide published, so I pouted for a while and didn’t write for five and a half years. Not writing was partly pouting and partly because I was stuck. I couldn’t figure out how to do a novel. And I felt like my brain wouldn’t do a longer arc. But in January 2009, I was walking on Skilak Lake, walking out across the frozen lake toward Caribou Island, and I felt like I could see all of it. It seemed really clear that Irene had to be the focus, she had to be the main character right from the start, and that the story had to begin really late, and that their marriage would already be in trouble. The whole thing would feel like the final sequence in that way. I think that was why it was easy to get from chapter to chapter and why they’re fairly short and quick, as if they’re really all the final sequence.