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• W289439192 abstract "Other than her name on the title page of Lichen Tufts, from the Alleghanies (1860), we know very little about Elizabeth C. Wright. [1] Nevertheless, her only book presents an accomplished and fully realized literary treatise on nature, the first by an American woman. It was published in New York by M. Doolady, a press about which also little is known, except that it was active from 1860 to 1873 (Dzwonkoski 137). Since its publication, Lichen Tufts has led a quiet life and probably would have remained in its early retirement if Lawrence Buell had not happened upon a copy in an antiquarian bookshop in Chapel Hill, North Carolina. [2] As it turns out, this was much more than just another lucky find among musty books. Lichen Tufts comprises a crafty, tenacious, and profound critique of midnineteenth-century American culture as Wright knew it and should now be given a place in the history of American writing. Nature writing in America, since its emergence as a recognizable literary genre in the late eighteenth century, has consistently been used as a means of bringing about changes in culture, generally by attempting to change readers' attitudes toward the natural environment. [3] It is essentially, as Thomas J. Lyon characterizes it, a subversive genre. A continuum of authors from William Bartram to Susan Fenimore Cooper and from Henry David Thoreau to Barry Lopez have worked within the broad boundaries of this genre while trying to adjust their culture's stance toward nature. Because Elizabeth Wright thought her contemporaries' ideas about lay at the root of her culture's deficiencies, she naturally found this subversive genre attractive. That she was conscious of doing so appears in her text when she allies her work with Thoreau's Walden (1854) by having her narrative persona carry and quote from a copy and by referring to her ideas for living as the deliberate philosophy (16-17, 69). [4] This is cert ainly one of the earliest published references to Walden after the initial reviews, and it is undoubtedly the first time that a fellow writer pays literary tribute to the project of cultural change that shapes Walden. Unlike most other nineteenth-century works of nonfiction by American women in which the natural environment is represented to a significant extent--Margaret Fuller's Summer on the lakes (1844) and Caroline Kirkland's Forest Life (1842) are examples--Wright's prose treatise builds its entire argument on a theory of nature. four essays contained in Lichen Tufts constitute one of the very few works by a female author in the nineteenth century totally devoted to literary writing. [5] first of Lichen Tufts' essays, Into the Woods, narrates a camping trip that Wright, or her persona, made with several companions along the Allegheny river in its northern-most reaches, where today it forms the northern and western borders of New York's Allegany State Park. This narrative essay puts into practice, or enacts, her nature cure--that is, her means of correcting the faults of her contemporaries by involving them in the vigorous outdoor experience of the wild and by inspiring them to acquire a much more accurate knowledge of natural history. Wright then theorizes and discusses the nature in the second and third essays, in which she applies the cure to the body and to the mind, respectively. fourth and final essay, entitled The Perfection of the Natural, develops and explores implications of Wright's belief that throughout time has been guided by God to its perfection in the human species. One reason the book has received so little attention in its 140 years is that one tenet of its theory of was doomed the year before it was published by the appearance of Darwin's On the Origin of Species (1859). Along with practically everyone else in the Western world at the time--including even all of the leading geologists (Mayr 404-08)--Wright still believed that the number of all plant and animal species was fixed when God completed the Creation and that the fossil evidence reported successive and discrete waves of creation by God (a theory referred to as special creationism), not the evolution of new species through variation and natural selection. …" @default.
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• W289439192 date "2000-01-01" @default.
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• W289439192 title "I Commend You to Allegany Underbrush: The Subversive Place-Made Self in Elizabeth C. Wright's Treatise on Nature, Lichen Tufts" @default.
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