February 25, 2025 - English Studies

“Literary Geography: Joyce, Woolf And The City” by Jeri Johnson: Summary and Critique

“Literary Geography: Joyce, Woolf and the City” by Jeri Johnson first appeared in 2000 in the journal City: Analysis of Urban Trends, Culture, Theory, Policy, Action (Vol. 4, No. 2, pp. 199-214).

Introduction: “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson

“Literary Geography: Joyce, Woolf and the City” by Jeri Johnson first appeared in 2000 in the journal City: Analysis of Urban Trends, Culture, Theory, Policy, Action (Vol. 4, No. 2, pp. 199-214). The article explores how urban spaces in literature are represented as both real and imagined through the works of James Joyce and Virginia Woolf. Johnson examines the tension between representing cities as physical, material realities and as imaginative, symbolic spaces, drawing on the theories of urban thinkers like Simmel and Benjamin. The article argues that while both Joyce and Woolf engaged with cities like Dublin and London in materially grounded ways, they also imbued them with symbolic meanings, offering “utopian openings” for social cohesion and change. By analyzing Joyce’s insistence on the faithful geographical representation of Dublin in Ulysses and Woolf’s transformation of London into a dynamic, metaphorical space, Johnson emphasizes the dual role cities play in literature as both tangible and symbolic constructs. This contribution is important to literary theory as it bridges the gap between literary representations of urban space and the social, cultural, and historical forces that shape them, offering a nuanced view of how cities influence and reflect the mental and emotional lives of their inhabitants.

Summary of “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson

Introduction to the Concept of Literary Cities
In this article, Jeri Johnson explores the contrasting roles of urban spaces in literature, particularly in the works of James Joyce and Virginia Woolf. She discusses whether cities in literature are “imaginary spaces” or reflections of material realities. Joyce’s approach to Dublin in Ulysses is grounded in the city’s material geography, whereas Woolf’s depictions of London, particularly in The Years, navigate between visionary and factual representations (Johnson, 2000, p. 199). Joyce’s city is so meticulously described that it could be “reconstructed” from his text, while Woolf’s view evolves from seeing cities as “phantom” spaces to fully integrated historical and political landscapes (Johnson, 2000, p. 199).
The Dual Nature of Cities in Literature
Johnson identifies two opposing views of cities in literary geography: cities as “imaginative constructions” and cities as accurate representations of the material world. While many critics have historically supported the former, seeing urban spaces as symbolic, Joyce presents Dublin as a city that must be understood in its exact geographical context. Johnson contrasts Joyce’s vision with that of Woolf, who initially resisted turning cities into tangible, historical places but later embraced the material history of London in her writing (Johnson, 2000, p. 200). This tension between representation and imagination is central to the study of literary geography.

Franco Moretti and J. Hillis Miller’s Views on Literary Space
Johnson references the work of literary critics Franco Moretti and J. Hillis Miller, who argue that space in literature is not about geographical location but about the relationships and social dynamics that unfold over time. Moretti, for example, suggests that the city in the novel functions as a backdrop to social relations rather than as a place in itself (Johnson, 2000, p. 201). Miller further expands this by discussing the city as a “figurative mapping” that represents the dynamic relationships among characters rather than the physical space itself.
Raymond Williams and the Metropolis in Ulysses
Raymond Williams’ Marxist interpretation of Ulysses is also discussed, where he asserts that the city in Joyce’s novel is largely an internalized experience, shaped by the character’s consciousness rather than the physical reality of Dublin (Johnson, 2000, p. 202). Johnson agrees with Williams in some respects but also highlights Joyce’s insistence on accuracy in his representation of Dublin’s geography, suggesting that Joyce’s treatment of the city allows for a deeper engagement with the material history of the urban space.
Woolf’s Changing Attitudes Toward the City
Johnson traces the evolution of Virginia Woolf’s attitude toward cities, noting her shift from a rejection of the tangible city to a full embrace of London’s material and political dimensions in The Years (Johnson, 2000, p. 207). Woolf, who once viewed cities as “phantom” spaces, later acknowledged that understanding the city’s historical and political contexts was essential to understanding individual lives and social structures. The article explores how Woolf integrates the urban landscape with the private lives of her characters, especially through the lens of political change, gender roles, and social class.

Conclusion: Cities as Both Material and Symbolic
Johnson concludes that both Joyce and Woolf view cities as essential to understanding their characters’ lives, but they approach this representation differently. Joyce insists on the materiality of Dublin, making it a site for historical and political critique, while Woolf uses the city to reflect personal and social transformation. Both writers, however, depict cities as spaces that are both “insistently themselves and persistently something other,” allowing for both material reality and symbolic meaning in their literary geography (Johnson, 2000, p. 214).

Theoretical Terms/Concepts in “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson

Theoretical Term/Concept	Explanation	Reference
Imaginary Spaces	Refers to the idea of cities in literature as constructed, fictional representations rather than accurate depictions of physical locations.	“Cities as found in literature are imaginative constructions” (Johnson, 2000, p. 199).
Material Realities	The notion that cities in literature aim to represent actual, tangible places with a material and historical foundation.	“Cities in literature represent at least themselves” (Johnson, 2000, p. 199).
Literary Geography	The study of how geographical locations and urban spaces are represented in literature, including both symbolic and material representations.	“Literary geography…is concerned with the intersection of literature and the spatial arrangement of urban places” (Johnson, 2000, p. 199).
Urban Space as Narrative Prop	The idea that the urban environment in literary works is a backdrop to narrative events, playing a secondary role to the social relationships and character dynamics.	“The city as a physical place…becomes the mere backdrop to the city as a network of developing social relationships” (Johnson, 2000, p. 201).
Space and Temporality	The concept that spatial elements in literature, particularly cities, function through narrative time, linking the physical space to the progression of the plot.	“The urban novel…seeks to resolve the spatial in terms of the sequential” (Johnson, 2000, p. 201).
Flâneur	A concept from modernist urban theory describing a detached observer or stroller who experiences the city without fully engaging with its inhabitants.	“Joyce’s own flâneur, Leopold Bloom, in Ulysses, is alienated, but not because he lives in a metropolis” (Johnson, 2000, p. 202).
The Metropolis and Mental Life	A theory from Georg Simmel discussing how urban life affects the mental state of individuals, making them more detached or alienated.	“The significance of ‘the city’ lies in the effect it has on the mental life” (Johnson, 2000, p. 202).
Material History of Cities	The idea that cities are not just fictional or symbolic, but are deeply tied to historical, political, and social contexts that influence characters’ lives.	“Cities were both ‘insistently themselves and persistently something other’” (Johnson, 2000, p. 214).
Political Geography	A concept that examines the political significance embedded in geographical locations, specifically in how urban settings relate to broader political issues.	“Woolf’s works are loaded with political geography” (Johnson, 2000, p. 207).
Utopian Space	A theoretical term referring to spaces in literature that offer idealized versions of society, often providing moments of escape or social cohesion.	“The possibility of charitable action as a stimulus to social cohesion” (Johnson, 2000, p. 202).

Contribution of “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson to Literary Theory/Theories

Contribution to Literary Geography Theory
The article contributes significantly to the development of literary geography, examining how cities in literature represent both the material reality of their physical locations and the imaginative constructs of writers. It suggests that cities in literature are not mere backdrops but are deeply intertwined with the characters’ lives, reflecting social, historical, and political contexts.
- “Literary geography…is concerned with the intersection of literature and the spatial arrangement of urban places” (Johnson, 2000, p. 199).
Contribution to Modernist Literary Criticism
Johnson’s analysis highlights how modernist writers like Joyce and Woolf navigate the tension between representing cities as both real and imaginative spaces. This intersection challenges traditional ideas of spatial representation and encourages a deeper look into the complexities of urban experiences in modernist texts.
- “Cities were both ‘insistently themselves and persistently something other’” (Johnson, 2000, p. 214).

Contribution to Urban Space and Temporality Theory
The article reinforces the argument that space in literature, particularly in urban settings, operates through temporality. By using cities as a framework for narrative events, both Joyce and Woolf employ urban spaces to advance the plot, while simultaneously imbuing them with social and political meaning.
- “The urban novel…seeks to resolve the spatial in terms of the sequential” (Johnson, 2000, p. 201).
Contribution to Flâneur and Alienation Theory
Drawing on the concept of the flâneur, Johnson explores how Joyce’s Ulysses depicts Leopold Bloom as a modernist figure who experiences alienation in Dublin, despite the city’s detailed representation. The flâneur becomes a lens for understanding the psychological effects of modern urban life, especially the sense of detachment that comes with it.
- “Joyce’s own flâneur, Leopold Bloom, in Ulysses, is alienated, but not because he lives in a metropolis” (Johnson, 2000, p. 202).
Contribution to Simmel’s Theory of the Metropolis and Mental Life
Johnson builds on Simmel’s ideas by demonstrating how Joyce and Woolf’s works reflect the alienating effects of urban life on individuals. In particular, the psychological consequences of living in dense, busy cities are portrayed through the inner experiences of their characters, who navigate a world filled with “stimuli” and “anonymity.”
- “The significance of ‘the city’ lies in the effect it has on the mental life” (Johnson, 2000, p. 202).

Contribution to Political Geography in Literature
The article highlights the intersection of urban geography and political history in literature. Both Joyce and Woolf use the cities of Dublin and London as representations of historical and political forces, exploring how the material city shapes social dynamics and personal lives.
- “Cities were both ‘insistently themselves and persistently something other,’ including utopian openings towards ‘the possibility of charitable action as a stimulus to social cohesion’” (Johnson, 2000, p. 202).

Examples of Critiques Through “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson

Literary Work	Critique	Explanation
James Joyce’s Ulysses	Ulysses and the Representation of Dublin	Joyce’s Ulysses is praised for its precise geographical representation of Dublin. Johnson notes that Joyce’s insistence on accurately portraying Dublin leads to a blending of real and imaginary spaces, showcasing the city’s historical and social layers.
	Alienation in the City	The city in Ulysses is not just a backdrop but a space that influences characters. Joyce presents Dublin as both a place of belonging and alienation, with characters like Leopold Bloom experiencing a sense of detachment from the urban landscape.
Virginia Woolf’s The Years	Urban Landscape and Mental Life	Woolf’s The Years integrates London’s material and social history, exploring how the city’s spaces affect the characters’ psychological states. The narrative shows characters moving between public and private spheres, illustrating how these spaces shape their mental lives.
	Public and Private Worlds in the City	Woolf emphasizes the interaction between public and private spheres in London. Through characters like Rose Pargiter, Woolf critiques how urban life’s “facts” are interwoven with the personal histories and struggles of individuals, making the city an active force in shaping lives.
James Joyce’s Dubliners	Historical and Political Critique	In Dubliners, Joyce reflects on the social and political history of Dublin. In stories like “Two Gallants,” the city is not only a setting but also a critique of Ireland’s political situation, with characters moving through spaces that carry historical weight.
	Representation of Social Betrayal	The critique of social betrayal in Dubliners is connected to the geography of Dublin. The physical streets and buildings mirror the themes of exploitation and betrayal in Irish society, especially under British influence.
Virginia Woolf’s Night and Day	London as an Urban Space	In Night and Day, Woolf presents London as a complex urban space where the characters’ identities are shaped by the city’s landscape. Woolf uses the city to illustrate broader social dynamics and tensions between personal aspirations and societal constraints.
	Material Reality vs. Visionary Imagination	Woolf’s portrayal of London in Night and Day is both grounded in material reality and filtered through the characters’ subjective perceptions. The city’s external space is described in ways that challenge its tangible reality, invoking a more visionary understanding of urban life.

Criticism Against “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson

Overemphasis on Material Geography
Johnson’s focus on the material and geographical accuracy in Joyce’s Ulysses and Woolf’s The Years might be seen as neglecting the more abstract or symbolic uses of the city in these works. Critics may argue that the material reality of the city is only one aspect of its significance in literature, and that Johnson’s critique places too much weight on this perspective.

Neglect of Psychological and Symbolic Dimensions
While Johnson engages with how the city shapes characters’ mental lives, some critics might argue that the article does not delve deeply enough into the symbolic or psychological meanings of the city in these works. For instance, Joyce’s Dublin and Woolf’s London are rich with symbolic resonance, which is not fully explored in the critique.
Over-simplification of City Representations
Johnson’s framework of contrasting ‘cities in literature represent something other than themselves’ versus ‘cities in literature represent at least themselves’ could be criticized for being too simplistic. The complexity of literary depictions of cities might resist such binary categories, as urban spaces often blur these boundaries in nuanced ways.
Limited Focus on Gender and Social Structures
While Woolf’s works are acknowledged for their interaction with urban space, the criticism might fall short of adequately engaging with the ways in which gender and class affect the urban experience. Both Woolf and Joyce portray cities as shaped by social hierarchies, and a more in-depth analysis of these dimensions could strengthen the critique.

Historical Context Overlooked
Johnson’s focus on the literary geography of the cities could be critiqued for not sufficiently engaging with the broader historical contexts that shape these cities. While Joyce’s Dublin and Woolf’s London are discussed as material realities, their historical evolution, including political upheavals, urbanization, and social change, might not be fully addressed in relation to the literary works.
Excessive Focus on Urbanism
Johnson’s critique predominantly emphasizes the role of the city in shaping the narratives and characters in both authors’ works. Critics could argue that this approach overlooks the rural or suburban aspects of their writings, potentially disregarding the broader geographical scope within which these works unfold.
Possible Lack of Engagement with Postcolonial Perspectives
Since both Joyce and Woolf wrote in contexts heavily shaped by colonialism, a critique might argue that Johnson does not sufficiently engage with the postcolonial implications of their urban portrayals. Joyce’s Dublin and Woolf’s London could be critiqued from a postcolonial perspective, especially considering Ireland’s history with British imperialism and the imperial undertones in London during Woolf’s era.

Representative Quotations from “Literary Geography: Joyce, Woolf And The City” by Jeri Johnson with Explanation

Quotation	Explanation
“A writer’s country is a territory within his own brain; and we run the risk of disillusionment if we try to turn such phantom cities into tangible brick and mortar…” (Woolf)	This quote highlights Virginia Woolf’s idea that the city in literature is a product of the writer’s imagination, suggesting that literary cities are more symbolic than literal representations of actual places.
“I want to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth it could be reconstructed out of my book” (Joyce)	Joyce’s ambition for his representation of Dublin in Ulysses is to make it so precise and detailed that it could be rebuilt from the text, positioning his work as both a literary and a geographical map of the city.
“The city as a physical place—and therefore as a support to descriptions and classifications—becomes the mere backdrop to the city as a network of developing social relationships…” (Moretti)	This quote from Franco Moretti connects urban space to the narrative’s social dynamics, where the city serves more as a site for evolving human interactions than a mere physical environment.
“A novel is a figurative mapping. The story traces out diachronically the movement of the characters…as the crisscross of relationships gradually creates an imaginary space” (Miller)	J. Hillis Miller’s view reinforces the idea that literary cities are abstract, evolving constructs shaped by the characters’ interactions rather than static, physical settings.
“The substantial reality, the living variety of the city, is in the walker’s mind…The history is not in this city but in the loss of a city, the loss of relationships.” (Williams)	Raymond Williams argues that the city’s material reality is secondary to its representation as a mental and emotional experience, particularly focusing on the psychological impacts of urban life.
“In a way that Williams never imagines, he is right about Joyce’s Ulysses even as he ignores Joyce’s faithfulness to the materiality of Dublin.” (Johnson)	Johnson critiques Williams by acknowledging the tension between Joyce’s attention to Dublin’s material reality and the abstract, mental representation of the city in Ulysses, suggesting both dimensions exist in parallel in Joyce’s work.
“Woolf insisted on representing the city of London as both a material place and a mental one, which constantly interacts with the characters’ perceptions and emotions.”	This quote from Johnson emphasizes Woolf’s dual approach, where the city’s materiality is tied to her characters’ subjective experiences, blending the physical with the emotional.
“The city was a place that shaped the mental lives of those who lived there, but for Woolf, it also held the possibility for charitable action as a stimulus to social cohesion.” (Johnson)	Johnson suggests that for Woolf, London serves not only as a site of psychological alienation but also as a place where positive social change can emerge, offering a utopian view of urban space.
“The metaphorical city is always a reflection of the mental states and internal struggles of the characters.”	Johnson argues that cities in literature often reflect internal, psychological processes, aligning with literary theories that link external environments to characters’ internal states.
“London itself perpetually attracts, stimulates, gives me a play & a poem, without any trouble, save that of moving my legs through the streets.” (Woolf)	This quote demonstrates Woolf’s personal connection to London, suggesting that the city provides both inspiration and movement, reflecting her view of the city as a source of constant stimulation and creativity.

“Literary Geography And The Writer’s Country” by Ian M. Matley: Summary and Critique

“Literary Geography And The Writer’s Country” by Ian M. Matley first appeared in 1987 in the Scottish Geographical Magazine (vol. 103, no. 3, pp. 122-131).

Introduction: “Literary Geography And The Writer’s Country” by Ian M. Matley

“Literary Geography And The Writer’s Country” by Ian M. Matley first appeared in 1987 in the Scottish Geographical Magazine (vol. 103, no. 3, pp. 122-131). The article explores the relationship between literature and geography, particularly examining how environments influence writers. Matley traces the development of literary geography, from early deterministic approaches to more nuanced studies, highlighting the concept of a “writer’s country” as the place that significantly impacts an author’s works. The article underscores the importance of not just physical landscapes but also social and cultural environments in shaping literary expression. The study is critical for understanding the broader impacts of geography on narrative form and content, especially in relation to British writers such as Thomas Hardy and Walter Scott.

Summary of “Literary Geography And The Writer’s Country” by Ian M. Matley

Introduction to Literary Geography

Ian M. Matley discusses the emergence of literary geography and the concept of a writer’s country, a region or environment closely linked to a writer’s life and work.

Literary geographers explore how physical landscapes and social environments influence writers’ thoughts and writings, with an emphasis on childhood experiences shaping a writer’s work.
- As Matley asserts, “the influence of early environments was stressed” as crucial in shaping literary output (Matley, 1987, p. 123).

Archibald Geikie’s Environmentalism

Geikie, a geologist, was one of the earliest to apply environmental ideas to literature, arguing that physical landscapes significantly shape human development.
- Geikie posits, “man is in large measure the creature of his environment; that his material progress and mental development have been guided and modified by the natural conditions in which he has been placed” (Geikie, 1905, p. 3).
He believed that geographical regions, like Scotland’s harsh terrain, influenced the people and writers from these areas, imparting traits such as endurance and self-reliance.

William Sharp and Literary Geography

William Sharp is credited with pioneering literary geography with his work on the influence of landscapes on writers such as Robert Louis Stevenson and Thomas Carlyle.
- Sharp argued, “The colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66).

He contended that a writer’s early environment, even if not directly represented in their work, plays a vital role in shaping their imagination and literary themes.

Edward Thomas and Refined Views on the Writer’s Country

Edward Thomas refined the idea of a writer’s country, associating it with the region where a writer spent their formative years.
- Thomas claims, “If a man spends his first twenty years in and about his birthplace, that is his country” (Thomas, 1928, p. 203).
His approach linked regional identity to writers like Hardy and Brontë, where landscapes from their youth had a profound effect on their works.

Modern Contributions: Drabble and O’Brien

Margaret Drabble expanded the concept of literary geography to include not only the natural environment but also cultural and social aspects, acknowledging that early landscapes may not always have a deterministic influence.
- Drabble remarks, “every writer’s work is a record both of himself and of the age in which he lives, as well as of the particular places he describes” (Drabble, 1976, p. 7).
Eoin O’Brien’s analysis of Samuel Beckett’s connection to Ireland, despite his later move to France, exemplifies how a writer’s native landscapes can still influence their work, even when they abandon them physically.

Critique of the Writer’s Country Concept

Matley critiques the deterministic approach to the writer’s country, pointing out that not all writers feel a strong attachment to their birthplace.
- He provides the example of Raymond Chandler, whose writing about Los Angeles was far removed from his Midwestern roots, illustrating that a writer’s country need not be tied to their birthplace or childhood environment.

Conclusion: Literary Geography and Modern Understanding

Over time, the concept of a writer’s country has evolved, with later scholars acknowledging a broader, more complex set of influences on a writer’s work, including urban environments and social contexts.
- As Matley concludes, “the concept of literary geography attains its fullest meaning…involves a totality of influences, physical, cultural, social, and economic” (Matley, 1987, p. 131).

Theoretical Terms/Concepts in “Literary Geography And The Writer’s Country” by Ian M. Matley

Term/Concept	Description	Reference
Literary Geography	A field of study that examines the relationship between geography (physical and social environments) and literature. It explores how landscapes shape writers’ works.	“Literary geography… includes the concept of a writer’s ‘country'” (Matley, 1987, p. 123)
Writer’s Country	A place or region most strongly associated with a writer’s life and works. It often refers to the environment that shaped the writer’s thoughts, particularly during their formative years.	“The writer’s ‘country’ as the region, place, or city most closely identifiable with the writer’s life and works” (Matley, 1987, p. 123)
Environmental Influence	The theory that a writer’s surroundings, both natural and social, deeply impact their literary output. This includes influences from childhood environments.	“The influence of early environments was stressed” (Matley, 1987, p. 123)
Physical Geography	The study of landscapes and the natural environment’s influence on literature, particularly focusing on how scenery shapes writers’ themes.	Geikie’s view: “Man is in large measure the creature of his environment” (Geikie, 1905, p. 3)
Cultural Geography	A perspective that extends beyond physical landscapes to include the impact of social, urban, and cultural environments on literary works.	Drabble emphasizes “the strong connection between writers and their native landscapes” (Drabble, 1976, p. 7)
Determinism in Literature	The belief that a writer’s work is significantly shaped by their early physical environment, implying that certain characteristics or themes in literature are influenced by geography.	Geikie’s idea of “environmentalist beliefs” and their impact on writers (Matley, 1987, p. 124)
Place-Specificity	The concept that literature becomes more grounded and specific in relation to a writer’s birthplace and the landscapes that shaped them.	Pocock states that “the indelible bond is established with the place of earliest activities” (Pocock, 1981, p. 339)
Totality of Influences	A modern refinement of literary geography that incorporates the full spectrum of influences on a writer, including physical, cultural, social, and economic factors.	“A totality of influences, physical, cultural, social, and economic” (Matley, 1987, p. 131)
The Role of Childhood	The idea that the landscapes and environments experienced in early life play a significant role in the later work of a writer.	“The colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66)
Urban Environment in Literature	The exploration of how cities and urban landscapes influence writers, especially in modern literary geography, moving beyond rural landscapes.	Drabble explores “the role of the urban environment as a formative force” (Drabble, 1979, p. 235)

Contribution of “Literary Geography And The Writer’s Country” by Ian M. Matley to Literary Theory/Theories

1. Contribution to Environmental Determinism in Literary Theory

Matley explores the role of the physical environment in shaping a writer’s work, emphasizing the impact of landscapes and early environments on the writer’s thoughts and writing. This aligns with the theory of environmental determinism, which suggests that human behavior and literary output are heavily influenced by environmental factors.
Reference: “The influence of early environments was stressed” (Matley, 1987, p. 123).

2. Contribution to Geocriticism

The article contributes to the development of Geocriticism, a literary theory that examines how geographical space is represented and influences the construction of narratives. Matley’s study of literary geography, particularly the concept of a writer’s country, highlights how writers’ works are linked to specific landscapes and regions.
Reference: “The concept of a writer’s ‘country’ as the region, place, or city most closely identifiable with the writer’s life and works” (Matley, 1987, p. 123).

3. Contribution to New Historicism

By linking the writer’s environment to their literary output, Matley touches on New Historicism, which looks at the ways in which historical, social, and geographical contexts influence literature. The concept of a writer’s country involves an analysis of how place and historical context influence literary production, a core concern of New Historicism.
Reference: “A totality of influences, physical, cultural, social, and economic, which a person absorbs by living in a particular place at a particular time” (Matley, 1987, p. 131).

4. Contribution to Ecocriticism

Matley’s focus on how natural environments impact literature contributes to Ecocriticism, which studies the relationship between literature and the environment. The article’s exploration of the physical landscape as a determining factor in writers’ works, especially the way rural and urban environments shape their writing, aligns with ecocritical approaches.
Reference: “The influence of the natural environment of a region as a major influence on a writer and his work” (Matley, 1987, p. 123).

5. Contribution to Spatial Literary Studies

The article’s examination of Spatial Literary Studies is evident in its analysis of the spatial and geographical contexts of writers’ works. Matley focuses on the concept of a “writer’s country” as a space that encompasses not just the geographical area but also its social, cultural, and emotional significance in the writer’s life and work.
Reference: “Literary geography and the concept of the writer’s country was of particular interest to British literary historians and critics” (Matley, 1987, p. 123).

6. Contribution to Memory Studies in Literature

Matley discusses how a writer’s attachment to their childhood landscapes impacts their work, contributing to Memory Studies in literary theory. This aspect highlights how memories of place and environment are essential to the creation of narrative and identity in literature.
Reference: “The landscapes of childhood… the colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66).

7. Contribution to Theories of Regionalism

The article contributes to the theory of Regionalism, which explores how specific geographic regions influence literary works. Matley reviews various writers, emphasizing how their connections to particular places or regions influenced the themes and settings of their works.
Reference: “Sharp thought that a knowledge of the landscapes and environment of an author’s birthplace and early home was important in understanding his or her works” (Sharp, 1912, p. 66).

Examples of Critiques Through “Literary Geography And The Writer’s Country” by Ian M. Matley

Literary Work	Critique through Literary Geography	Key Concept	Reference
“Wuthering Heights” by Emily Brontë	The novel reflects the influence of the Yorkshire moors on the characters, especially Heathcliff and Catherine. The bleak and rugged landscape of the moors is integral to the story’s atmosphere.	Writer’s Country: The landscape of youth shapes the emotional and psychological characteristics of characters.	“Emily fits into the moorland… she is part of it… the moorland was a necessity for her” (Thomas, 1928, p. 271)
“The Return of the Native” by Thomas Hardy	Hardy’s depiction of Egdon Heath, with its harsh and unforgiving landscape, mirrors the emotional struggles of his characters. The regional setting influences the themes of fate and isolation.	Regionalism: The specific environment of Egdon Heath shapes both the plot and the characters’ experiences.	“The placid scenery of the eastern lowlands of England had exerted a strong influence on the works of Cowper” (Geikie, 1905, p. 3)
“The Adventures of Sherlock Holmes” by Arthur Conan Doyle	The urban landscapes of London play a crucial role in the story, influencing Holmes’ investigative methods and the atmosphere of mystery. The city itself becomes a character in the narrative.	Urban Environment: The city as a formative space that shapes character behavior and narrative themes.	“Sharp tried to show the influence of urban environment on Thackeray’s development… the urban background… was equally important” (Sharp, 1912, p. 143)
“Dracula” by Bram Stoker	The novel’s landscapes—ranging from the Gothic castle in Transylvania to Victorian London—reflect the cultural and psychological tension between the Old World and the New.	Cultural Geography: The contrast between rural Transylvanian landscapes and urban London reflects cultural and social tensions.	“The landscapes of childhood… the colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66)

Criticism Against “Literary Geography And The Writer’s Country” by Ian M. Matley

1. Overemphasis on Environmental Determinism

Matley’s focus on the environmental impact on writers may oversimplify the complexity of literary production, reducing it to a deterministic view where geography and environment are seen as the primary forces shaping a writer’s work.
Critics may argue that this theory undermines other influences, such as personal experiences, psychological factors, or broader social and historical contexts.

Reference: “The influence of early environments was stressed” (Matley, 1987, p. 123).

2. Neglect of the Writer’s Agency and Creativity

Matley’s theory might underplay the writer’s agency, creativity, and conscious choices when it comes to narrative construction. This critique suggests that writers are active creators rather than passive products of their environments.

Some may argue that writers intentionally choose settings and landscapes that serve their artistic or thematic goals, rather than being unconsciously influenced by them.

Reference: “Sharp thought that the early environment of a writer is the most important influence in his use of nature as a background for the human drama” (Sharp, 1912, p. 66).

3. Insufficient Consideration of Non-Geographical Influences

Critics might argue that Matley’s approach fails to adequately address other significant influences on literature, such as cultural, political, or philosophical contexts, which play a critical role in shaping a writer’s worldview and literary style.
The theory could be seen as narrowing the scope of literary analysis to geography, overlooking factors like ideology, historical moment, and literary traditions.

Reference: “Literary geography and the concept of the writer’s country was of particular interest to British literary historians and critics” (Matley, 1987, p. 123).

4. Limited Application to Non-Regional Writers

The theory may be criticized for being particularly relevant to regional novelists but less applicable to writers whose works are less tied to specific geographical locations or who deliberately transcend their environmental roots.
Writers like James Joyce, Franz Kafka, or William Faulkner, whose works deal with universal themes or abstract environments, might challenge the relevance of the “writer’s country” concept.

Reference: “The landscapes of childhood… the colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66).

5. Romanticizing the Connection Between Writer and Landscape

The emphasis on childhood environments and their supposed unbreakable bond with the writer’s work can be seen as overly nostalgic and romantic. Critics may argue that this view idealizes the connection between a writer and their childhood environment, ignoring the possibility that writers might deliberately distance themselves from these roots.

Some may suggest that this approach neglects the evolving and complex nature of literary identity.

Reference: “The influence of the natural environment of a region as a major influence on a writer and his work” (Matley, 1987, p. 123).

6. Limited Engagement with Modern Theoretical Frameworks

Matley’s exploration of literary geography could be criticized for not engaging sufficiently with contemporary theoretical frameworks in literary studies, such as postmodernism, feminist theory, or postcolonial theory, which could offer richer, more nuanced analyses of geography in literature.
The approach might appear somewhat outdated in light of newer literary theories that stress the multiplicity of influences on writers beyond geographic determinism.

Reference: “A totality of influences, physical, cultural, social, and economic, which a person absorbs by living in a particular place at a particular time” (Matley, 1987, p. 131).

7. Over-Simplification of Geographical Influence

Matley’s framework may oversimplify the relationship between geography and literature, assuming a direct causal link between environment and writer’s work. Critics may argue that this is an oversimplification, as the interaction between a writer and their environment is more complex and mediated by individual perception, personal experiences, and intellectual engagement.

Representative Quotations from “Literary Geography And The Writer’s Country” by Ian M. Matley with Explanation

Quotation	Explanation
“The influence of early environments was stressed” (Matley, 1987, p. 123).	This highlights the emphasis on how childhood environments shape a writer’s thoughts and later works, suggesting a direct connection between place and literary output.
“The concept of a writer’s ‘country’ as the region, place, or city most closely identifiable with the writer’s life and works” (Matley, 1987, p. 123).	This defines the key concept of a “writer’s country,” emphasizing the relationship between a writer’s works and the geographical location that influenced their life and work.
“Man is in large measure the creature of his environment; that his material progress and mental development have been guided and modified by the natural conditions in which he has been placed” (Geikie, 1905, p. 3).	Geikie’s belief in environmental determinism is quoted here, supporting the idea that a writer’s environment shapes their intellectual and creative outputs.
“Literary geography… includes the concept of a writer’s ‘country'” (Matley, 1987, p. 123).	This reinforces the idea that literary geography is not just about the geographical settings in a writer’s works but about the deep connection between the writer and their environment.
“The colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66).	Sharp’s view that childhood experiences, particularly visual impressions of landscapes, influence the themes and style of an author’s later works.
“The instinct of a reader knows the difference between what is merely depicted, however beautifully, and what is thought into the very fibre of the thing created” (Sharp, 1912, p. 69).	Sharp stresses that a writer’s intimate knowledge of their environment comes through in their work, making the depiction more authentic and emotionally resonant.
“He writes of them as an admiring and even enthusiastic spectator, but not as one into whose very soul the power of the mountains had entered” (Geikie, 1905, p. 123).	Geikie’s analysis of how Walter Scott’s depiction of the Scottish Highlands was shaped by admiration rather than personal, emotional connection, highlighting the distance between environment and emotional influence.
“The landscapes of childhood… the colours seen in childhood are those with which in maturity whatever is enduring is depicted” (Sharp, 1912, p. 66).	A reiteration of Sharp’s view that childhood landscapes leave a lasting imprint on a writer’s imagination, shaping the enduring themes they express in their later works.
“A totality of influences, physical, cultural, social, and economic, which a person absorbs by living in a particular place at a particular time” (Matley, 1987, p. 131).	This suggests a modern, holistic understanding of literary geography, where a writer’s work is shaped not just by physical geography but by a broader range of influences.
“The influence of the natural environment of a region as a major influence on a writer and his work” (Matley, 1987, p. 123).	Matley reiterates the traditional view that natural landscapes, such as the countryside, deeply shape a writer’s perspective and literary production.

Day: February 25, 2025