Peter Owen 's Burning The Shelter, And Robin Kimmerer 's Learning The Grammar Of Animacy

Literature; it has compelled us, entertained us, educated us, and drove us to madness. It has served as life instruction, by using the characters as the lesson plan. It is sometimes blunt, sometimes ugly, and in Truman Capote’s case, is so gruesome that we do not dare forget it.

There are walls that block people from seeing what’s on the other side, but they need soar over the wall and break through if they want to see what’s on the other side. Writers uses realism and figurative language to express life’s obstacles and extremities. London uses an emotionless tone through the lens of naturalism to convey that nature does not care, already mapped out the man’s fate and that man does not have free will going against nature. Bishop utilizes symbolism to express vivid imagery to emphasize the idea of discovering truth or reality of anything. Wharton manipulates metaphors and similes to clearly express the ironies in the story of how humans can resort to rash extremities to conceal the truth, while finding a way to “freedom”.

The Short story, ‘To Build a Fire’ by Jack London, published in 1908, is an archetypal naturalist tale regarding a man who travels alone through the unforgiving Yukon in Winter, before ultimately falling victim to the harsh environment. The story portrays the issues in being unaware of the power of nature and portrays a strong naturalist, In the very beginning of the story, his indifference to the forces of nature is evident through London’s vivid imagery of the uninhabited environment and the man’s nonchalant tone imitated through the neutral diction present. Furthermore, the quote “The trouble with him was that he was without imagination. He was quick and alert in the things of life, but only in the things, and not in the significances,” explicitly foreshadows that an issue will come of his indifference

In “The Trouble with Wilderness,” William Cronon illustrates the paradox within the notion of wilderness, describing that if wilderness is that which lies beyond civilization -- beyond humankind, then so is the notion of nature outside the realm of the human... that humans are therefore, unnatural. Further, he explains that if our concept of nature (and ultimately our concept of God) is outside of humanity, then our existence is synonymous with the downfall of nature. That wilderness is purely a construct of civilization is central to this argument.  For example, Cronon asserts that “the removal of Indians to create an ‘uninhabited wilderness’---uninhabited as never before in human history of the place---reminds us just how invented, just how constructed, the American wilderness really is” (pg.79). Instead of in isolation from civilization, Cronon finds that his most spiritual experiences with nature have always been closer to home… a sense of wildness (versus wilderness) can be found in one’s backyard, gazing from a front porch, and in the melding of the human experience with mother nature. One of Into the Wild’s final scenes drives home this idea by altering the literal point of view that main character, Chris McCandless, has had of both himself and of the world since the beginning of his two year journey.  Into the Wild attempts to dramatizes Cronon’s argument to rethink wilderness; we will examine how the film succeeds, and where it fails, to support its premise.

Imagine yourself shipwrecked upon an uninhabited island. The experience of being stranded will cause you to pose many questions, with the possibility of only one of those questions to being answered. One answered question is: what is the purpose of literature? Northrop Frye, within “Motive for Metaphor”, uses the analogy of being within an uninhabited island to examines the purpose of literature by connecting it to the purposes of language and their use within the different worlds and levels of the mind Frye sees present.

In Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been?” the author sets the feeling of danger and uncertainty stemming from events occurring throughout the story with the utilization of themes from Thomas C. Foster’s “ How to Read Literature Like a Professor” specifically with references to seasons, the bible, and significant symbolisms.

Roderick Frazier Nash’s book, Wilderness and the American Mind, compiled contemporary debates about wilderness by outlining the changing positions concerning wilderness throughout history. In chapter 11, “Aldo Leopold: Prophet,” Nash discuses Aldo Leopold’s house metaphor. Here, Leopold refers to six vacant lots and what it would mean to build houses on all six lots. He describes how the first few houses might make sense; however once you build upon all six lots you no longer remember the meaning of the homes. He argues that they somehow the sixth house would become “stupidity.” Conversely, I disagree with this theory. I feel each house, so to speak, is built differently and suits different needs and wants. Just as in the wilderness,

I agree with his concern of people always looking to help those not local to them, and they do tend to not realize the help they can do locally as well. This concern easily applies to public health, where many seek to go overseas when they fail to realize how much help is needed locally or nationally. I also agree with how historically, people have changed their views on nature and the wilderness as this was often discussed in art history. However, I find that his view on the wilderness connotations are quite subjective. He viewed “wilderness” through human eyes as it is a culture we created and that we seek to conserve nature for selfish reasons to satisfy our romantic ideals: whether it be recreational sites, religious icons, spiritual healing, masculinity ideals, a place of paradise and escape, primitive ideals or for the

People often believe teachers, friends, and parents are the ones that teach them the most in life. Although this may be true, a work of literature can also teach a person many valuable life lessons that no one else can. In a work of literature, all themes connect to one significant lesson. Lawrence and Lee’s Inherit The Wind has rich themes that demonstrate the world resist change. One important theme is to always be open-minded. Equally important, is the theme that differences can tear people apart. Not to mention, freedom of thought is also a critical theme. Therefore, themes in Inherit The Wind shows the struggle of change to occur.

These are issues that I often ponder. I realize this consciousness is atypical of many of my compatriots. However, the roots of my compulsive musings are not wholly random because I was subjected to much similar thinking from an early age. Having grown up in a region where civilization and development were slow in coming, and where trees outnumber cornstalks and coal mines corn silos, we had ample opportunity to reflect on man’s relationship to nature. My parents are two well-educated, biologically trained individuals with an almost obsessive need to be outdoors. They met, so the story goes, in a graduate school class when my mother asked my father for his pocketknife to scrape moss from a tree trunk. It was love amongst the bryophytes. They spent several years trekking all over the U.S. on vacations to national forests and monuments and deserts and mountains, and my arrival on the scene did not cease their wanderings. Though I did restrict the locale. There are numerous pictures of one of my parents standing on some wooded ridge with the peak of my red hat sticking up over their shoulder.

In this passage from Last Child in the Woods, Richard Louv puts a strong emphasis on the increasingly distant relationship between people and nature. Louv uses specific examples to support his argument, as well as imagery, sarcasm and an appeal to ethos and pathos. By using these rhetorical strategies, Louv appeals to his readers and convinces them of his argument.

In “Last Child in the Woods” the author Richard Louv argues how americans are being separated from nature and why we should stay more involved in nature. He uses several rhetorical strategies to prove his point using imagery and rhetorical questions to convey his message.

Thomas Foster’s How to Read Literature Like a Professor begins with an introduction that provides a framework for the next five chapters. The author explains that any story can fit into a general, archetypical theme, and he spends the first five chapters of his book speaking on these critically prevalent themes.

Throughout my two years during high school, I have learned a fairly good amount about analyzing literature. Although I am not fully confident about it, I do know the basics of analyzing literature and it is not just straightforward. Analyzing literature is not just about summarizing the text, it’s more than that. Out of the many ways of analyzing I learned to take each element of the story and looking at it “beneath the story.”