Location: [Reed College] [Department of English] [Laura Arnold][ Nation and Narration]Daily Readings
Over the next couple of days I would like to think about (at least!) two things with respect to Walden . One, point of view and two, the narrative overlap between Walden and painting of this era. For Wednesday, please read David Miller's article on art and iconography, "The Iconography of Wrecked Ships," and chapters 4-11 ("Sounds" to "Higher Laws": pp. 75-149). For Friday, please read David Lererenz's Manhood and the American Renaissance (on point of view and masculinity) pp. 9-41 and finish Walden.
The following are some questions that might focus your attention as you read
the specific chapters:
1. Chapters 3-6 might be seen as comprising a section entitled "Find Life."
What is the life that Thoreau seeks? What role do Sounds, Solitude, and
Visitors play within it?
2. Chapters 7-12 comprise a new section which might be entitled "The Works of Innocence" (or Summer). Now that we have discovered what we truly are, what can we do that is "original" in Emerson's sense and that is also either innocent or sacramental?
3. In chapter 9 we are again overwhelmed by the power of water. How does Thoreau's philosophical understanding of water compare to that of Emerson, Hawthorne, and Fuller?
4. How do Thoreau's "Higher Laws" compare to those of Emerson?
NOTE: I would mainly like to discuss point of view on Friday when we have read the Leverenz article (and I will give you a more extensive handout on this topic Wed.) but in the mean time if you would like extra information on point of view, see the following articles (on reserve):
Henry Golemba's "Thoreau's Working Audience," Essays in Literature XIII (1) Spring 1986.
Wayne Booth, "Distance and Point of View," Essentials of the Theory of Fiction 170-189.
Mitchell Leaska, "The Concept of Point of View" Essentials of the Theory of Fiction 251-266
Laura.Arnold@Reed.edu