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• W2609834319 abstract "IN HER CRITICAL WORK ON Emily Dickinson and nineteenth-century poetry, Susan Howe comments that, Robert Browning of 'Childe Roland' [...] velocity, mechanics, heat, thermodynamics, light, chaos of formulae, electromagnetic induction must be called back into Sublime, found and forgotten. (1) It is passing observation, but it suggests something of way Brownings 1855 poem, despite its medieval setting and fantastical trappings, seems offer strangely modern and perhaps unsettling vision of material world. (2) And yet, as Ivan Kreilkamp has argued, poem's dreamlike quality seems have discouraged critics from taking kind of historical approaches that would contextualize Howe's insight, and, in his words, situate in particular cultural conditions of 1850s. (3) Such situating work offers intriguing possibilities; he comments that to consider Browning in such super-charged realm of electricity, speed, heat, and light might yet lead provocative new vision of him as prophet of 'shocking encounters' produced within mediated nineteenth-century modernity. (4) In an essay on what he terms Browning's optical unconscious, he persuasively discusses impact of emergent photographic media technologies on Roland. In this essay, I would like follow Kreilkamp's lead, but focus on different aspect of poem's technologically mediated modernity: its depiction of widespread environmental collapse. This feature of is salient and unmistakable: Browning describes land of bog, clay, and rubble, sand and stark black dearth (150) where grass grows scant as hair in leprosy (73-74), and earth looks used up, desperate and done (147). (5) Indeed, ruined is perhaps single most memorable thing about poem. Yet common assumption is that this is not real, that it functions as projection of some aspect of, or conflict within, Childe himself. For most critics, external environment is a world of his own imagining (Carol Christ); sign of the unconscious mind projecting itself in action of poem (John Willoughby); or representation of an apocalyptic consciousness (Harold Bloom). The search for dark tower thus becomes form of interior questing (Edward Strickland). (6) But assumption that environment is reducible inner state of protagonist has perhaps prevented us from reckoning with ways in which might express anxiety about actual degraded material environments during period when were of undeniable interest culture. After all, was written at time of acute ecological crisis, on display most spectacularly in cities like London and Manchester, but also in ostensibly rural territories and outskirts of populated areas. Consider Dickens's description in The Old Curiosity Shop (1841): they came, by slow degrees, upon cheerless region, where not blade of grass was seen grow, where not bud put forth its promise in spring, where nothing green could live but on surface of stagnant pools, which here and there lay idly sweltering by black road-side. (7) Or F. R. Conders account of his journey into carbonised landscape of South Staffordshire and North Worcester in 1868: a pair of lofty cupolas vomiting flame. All around earth is black [...] The cranks and wheels of gaunt, skeleton-like steam-engines, working without shelter and without rest, raise dismal clatter. (8) These are kinds of landscapes that G. K. Chesterton saw reflected in world of Brownings poem. (9) For Chesterton, Roland evoked at once grey mean street of Victorian city and the shabby and hungry aspect of earth itself, that is, world poised uncertainly between urban and rural, natural and industrial. (10) But although we now read works by Dickens, Ruskin, Gaskell, Kingsley, Disraeli, and many of Brownings other Victorian contemporaries in such terms, (11) as texts deeply concerned about strange new material environments produced by rising industrial modernity, Brownings wasteland has received, since Chesterton, almost no such attention. …" @default.
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• W2609834319 date "2014-06-22" @default.
• W2609834319 modified "2023-09-24" @default.
• W2609834319 title "Childe Roland to the Dark Tower Came and the Landscapes of the Anthropocene" @default.
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