Theory Article Summaries Archives - Page 11 of 66

“Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls: Summary and Critique

“Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls first appeared in American Literary History in 2011 (Walls, 2011).

Introduction: “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

“Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls first appeared in American Literary History in 2011 (Walls, 2011). In this article, Walls explores the intersections between literature, geography, and history, emphasizing the ways in which spatial analysis enhances literary theory and cultural studies. Drawing on the work of thinkers such as Alexander von Humboldt and Henri Lefebvre, she critiques the historical fragmentation of disciplines that has separated literature from geography and argues for a reintegration of spatial and literary studies. Walls illustrates how geography has always been a narrative of history, shaping human experiences and cultural identities through landforms, territorial expansions, and ideological constructs. She highlights how American literature has mediated anxieties over space and expansion, shaping national and regional identities while also enabling resistance to dominant spatial narratives. The article engages with works by Hsuan L. Hsu, Mark Rifkin, and Miles Orvell, among others, to demonstrate how literature functions as both a representation of space and a tool for reimagining place-based identities. By examining the literary production of spatial belonging, Walls underscores the importance of interdisciplinary approaches in understanding cultural and historical processes. Her work contributes significantly to literary theory by advocating for “scale-jumping”—a concept that connects the personal, local, national, and global dimensions of space, thereby challenging fixed, hegemonic notions of geography and identity (Walls, 2011).

Summary of “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Interdisciplinary Fusion of Literature and Geography
Walls advocates for an interdisciplinary approach that merges literature, geography, and history, arguing that modern geography is inherently shaped by historical processes. She references Alexander von Humboldt’s idea that “their form is their history” to emphasize that both landforms and languages develop through time (Walls, 2011, p. 860). However, she critiques the 19th-century fragmentation of disciplines, which led to a rigid separation of literary and geographic studies instead of their integration.
The Spatial Turn in Literary Studies
Walls highlights the “spatial turn” in the humanities, which emerged in the 1980s through theorists like Henri Lefebvre, David Harvey, and Edward Soja. This movement challenges “space-blinkered historicism” and redefines geography as an active force rather than a passive backdrop (p. 861). She explains that spatial analysis allows scholars to explore literature’s role in shaping cultural and national identities, particularly in relation to American territorial expansion and its ideological foundations.

Geography, Colonialism, and American Expansion
The article examines how geography has been instrumental in American colonial expansion, citing Hsuan L. Hsu’s study on spatial expansion as a response to economic crises. She discusses how expansion functioned as a “spatial fix” to internal economic instability but also generated new conflicts and contradictions (p. 862). Literature, Walls argues, plays a crucial role in mediating these anxieties by depicting the struggles over land, identity, and displacement.
Scale-Jumping and Literary Representation
Walls introduces the concept of “scale-jumping,” describing how literature enables readers to shift perspectives between local, national, and global spaces (p. 862). She illustrates this with figures like Ralph Waldo Emerson and Walt Whitman, who depicted America’s geography as an expansive, poetic entity (p. 863). However, she also warns that scale-jumping has historically been used to justify imperial expansion, as seen in the rhetoric of U.S. missionaries and colonial explorers.
Borders, Sovereignty, and Indigenous Geographies
Drawing on Mark Rifkin’s work, Walls critiques the ideological construction of borders as a means of erasing Indigenous sovereignty. She argues that the true violence of American expansion was not just territorial conquest but the “conceptual violence” that forced Indigenous peoples into a framework of dispossession and marginalization (p. 865). By analyzing “subaltern geographies,” Walls explores how Indigenous resistance continues to challenge dominant spatial narratives.

Public and Private Spaces in American Culture
Walls extends her discussion of geography to urban spaces, referencing studies by Orvell and Meikle on the contested nature of public spaces. She highlights how sites like Washington D.C.’s National Mall have historically been arenas for political struggle and national identity formation (p. 868). However, she contrasts these organic public spaces with the increasing privatization of urban life, where commercialized areas like shopping malls and gated communities threaten democratic engagement (p. 869).
Literature’s Role in Reimagining Space
Walls concludes by emphasizing that literature is not merely a reflection of spatial realities but an active force in shaping them. She argues that literature offers “alternate geographies” that allow readers to challenge dominant spatial structures and reimagine power relations (p. 870). She calls for an interdisciplinary approach that reconnects literature with geography to better understand the socio-political landscapes that shape human experience.

Theoretical Terms/Concepts in “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Theoretical Term/Concept	Definition/Explanation	How Walls Defines and Uses It
Interdisciplinarity	The integration of different academic disciplines, particularly literature and geography, to provide a more comprehensive understanding of spatial and cultural narratives (Walls, 2011, p. 860).	Walls argues for an interdisciplinary approach that unites literature and geography, challenging the traditional fragmentation of disciplines. She suggests that reconnecting these fields can help us better understand historical and cultural processes.
Spatial Turn	A shift in humanities and social sciences that emphasizes space as an active, constructed entity rather than a passive setting, influenced by thinkers like Henri Lefebvre and Edward Soja (Walls, 2011, p. 861).	Walls traces the emergence of the spatial turn in the 1980s and highlights its impact on literary studies, particularly in reconsidering American national identity and historical narratives.
Scale-Jumping	The ability of literature to move between different spatial scales—local, regional, national, and global—to create a sense of interconnectedness (Walls, 2011, p. 862).	Walls explains that literature allows readers to shift perspectives across different spatial levels, sometimes reinforcing national myths and at other times challenging dominant ideologies of expansion.
Subaltern Geographies	The study of spaces marginalized by dominant spatial narratives, particularly Indigenous territories erased or overwritten by colonial expansion (Walls, 2011, p. 866).	Walls draws on Mark Rifkin’s work to show how American imperial expansion erased Indigenous spaces and histories, arguing that literature can help recover these subaltern geographies.
Public vs. Private Space	The contested nature of public spaces, where capitalist interests often encroach upon communal and civic spaces, shaping social interactions (Walls, 2011, p. 868).	Walls discusses how spaces like Washington D.C.’s National Mall serve as arenas of political struggle while contrasting this with the increasing privatization of urban life.
Conceptual Violence	A form of ideological violence that frames marginalized groups as outsiders, effectively erasing their agency and presence in spatial histories (Walls, 2011, p. 865).	Walls critiques the ways in which national maps create a false sense of unity while systematically excluding Indigenous and marginalized communities from historical narratives.
Geographical Belonging	The way literature and geography shape individuals’ emotional and cultural attachments to spaces, influencing identity formation (Walls, 2011, p. 862).	Walls explains how literature creates feelings of spatial belonging, helping readers connect to local, regional, and national identities, often in response to colonial expansion.
Territorial Coherence	The idea that national maps create a false sense of unity by obscuring the histories of Indigenous and contested spaces (Walls, 2011, p. 865).	Walls critiques the “fetishized image of territorial coherence,” arguing that maps reinforce an artificial unity that ignores spatial conflicts and erased geographies.
Empire for Liberty	Thomas Jefferson’s concept of the U.S. as an expanding “empire for liberty,” which paradoxically justified territorial expansion and Indigenous displacement (Walls, 2011, p. 865).	Walls analyzes how Jefferson’s rhetoric framed expansion as a moral project while simultaneously legitimizing the dispossession of Indigenous peoples.
Environmental Unconscious	A term describing how literature and culture reveal suppressed environmental and spatial histories, particularly through representations of landfills and waste (Walls, 2011, p. 869).	Walls references Don DeLillo’s Underworld and other literary works to illustrate how hidden landscapes, like landfills, symbolize forgotten ecological and social histories.

Contribution of “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls to Literary Theory/Theories

Spatial Theory and the Spatial Turn in Literary Studies
Walls contributes to spatial theory by emphasizing the role of space as an active force in shaping literature and culture. She draws on the spatial turn initiated by Henri Lefebvre, David Harvey, and Edward Soja, arguing that space is “not merely a backdrop but an active participant in history and literature” (Walls, 2011, p. 861). By engaging with spatial theory, Walls positions literature as a medium that constructs, contests, and redefines geographic and ideological boundaries.

Postcolonial Theory and Subaltern Studies
Walls’ discussion of subaltern geographies aligns with postcolonial theory, particularly the work of Gayatri Spivak and Edward Said, by exploring how imperial expansion erases Indigenous and marginalized spatial histories. She engages with Mark Rifkin’s concept of “territorial coherence” to show how national maps “fetishize territorial unity while suppressing Indigenous sovereignty” (Walls, 2011, p. 865). Her work contributes to postcolonial literary theory by revealing how literature can recover and reimagine erased geographies.
Ecocriticism and Environmental Humanities
Walls incorporates ecocritical perspectives by discussing how literature engages with the environment and suppressed ecological narratives. She references Klaus Benesch’s idea of the “environmental unconscious,” showing how literature reveals hidden landscapes such as landfills and abandoned industrial sites (Walls, 2011, p. 869). Her argument supports ecocritical readings of literature as a means of uncovering historical and environmental transformations.
Cultural Geography and Literary Cartography
By linking literature with geography, Walls advances the field of literary cartography, which studies how literary texts map spatial relations and cultural identities. She demonstrates how literary texts engage in “scale-jumping,” allowing readers to shift between local, national, and global perspectives (Walls, 2011, p. 862). This contribution aligns with Franco Moretti’s concept of distant reading, where geographic and spatial relationships shape literary analysis.

Critical Regionalism and National Identity
Walls’ analysis of critical regionalism contributes to discussions on national and regional identity formation in literary studies. She engages with Hsuan L. Hsu’s argument that “regional identification is constructed externally through economic and ideological forces” (Walls, 2011, p. 867). By challenging the nostalgia of regional literature, Walls suggests that literature both reflects and critiques the formation of national and regional identities.
Urban Theory and the Politics of Public Space
Drawing on studies of public space by Miles Orvell and Jeffrey Meikle, Walls discusses the contestation of urban spaces in literature. She examines how capitalist forces privatize urban environments, reducing public spaces to sites of commercial activity (Walls, 2011, p. 868). Her analysis contributes to urban theory by revealing how literature critiques and reimagines urban landscapes as spaces of resistance and civic engagement.
American Studies and the Ideology of Manifest Destiny
Walls critiques the ideological construction of America as a unified space, engaging with the concept of Manifest Destiny. She argues that Thomas Jefferson’s vision of an “empire for liberty” justified territorial expansion while displacing Indigenous peoples (Walls, 2011, p. 865). By challenging the myth of national coherence, Walls’ work contributes to American Studies by exposing how literature interrogates expansionist ideologies.

Literary Globalization and Transnational Studies
Walls contributes to transnational literary studies by analyzing how literature navigates global, national, and regional scales. She explores how “cosmopolitan rhetoric has been used both for liberatory and imperialist purposes” (Walls, 2011, p. 864). Her discussion aligns with transnational literary theories that examine the movement of ideas, people, and narratives across borders.

Examples of Critiques Through “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Literary Work	Concepts Applied	Critique Through Walls’ Framework
Edgar Huntly (1799) by Charles Brockden Brown	Gothic Geographies, Subaltern Geographies	Walls, drawing on Hsuan L. Hsu’s spatial analysis, critiques Brown’s novel for its portrayal of Gothic geographies, where space becomes unmappable, and repressed Indigenous voices disrupt dominant colonial narratives (Walls, 2011, p. 863). The novel illustrates how American expansion is inherently unstable, challenging the idea of a smoothly integrated national space.
Leaves of Grass (1855) by Walt Whitman	Scale-Jumping, Literary Cartography	Walls uses Whitman’s poetry to explore scale-jumping, showing how he transforms America into an expansive poetic geography (Walls, 2011, p. 863). His work fosters national unity through literary cartography, imagining America as a unified poetic space, but Walls cautions that this vision often overlooks colonial violence and the exclusion of marginalized groups.
Underworld (1997) by Don DeLillo	Environmental Unconscious, Hidden Geographies	DeLillo’s novel is examined through the lens of the environmental unconscious, where waste dumps and industrial ruins serve as suppressed spatial histories (Walls, 2011, p. 869). Walls highlights how the novel’s geography reveals hidden ecological and social consequences of capitalist expansion, exposing the discarded remnants of industrialization.
Manifest Destiny Writings (Various American Authors)	Conceptual Violence, Territorial Coherence	Walls critiques the ideological construction of U.S. expansionist narratives, showing how writings associated with Manifest Destiny reflect conceptual violence (Walls, 2011, p. 865). She argues that these texts reinforce the illusion of territorial coherence while erasing Indigenous geographies and legitimizing territorial dispossession, shaping the ideological foundations of U.S. expansionism.

Criticism Against “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Overemphasis on Spatial Theory at the Expense of Other Critical Lenses
Walls heavily focuses on spatial theory, often prioritizing it over other important theoretical frameworks such as gender, race, and class. While she addresses Indigenous erasure, some critics may argue that she does not sufficiently engage with feminist geography or intersectional perspectives in her analysis. A more comprehensive critique could have integrated these dimensions to offer a fuller interdisciplinary approach.
Limited Engagement with Contemporary Globalization Studies
Although Walls discusses scale-jumping and transnational perspectives, her work primarily centers on American spatial dynamics. Critics might argue that she does not sufficiently address the implications of global capitalism, migration, or transnational literature, which would expand the scope of her argument beyond U.S.-centric spatial concerns.

Idealization of Interdisciplinarity Without Addressing Institutional Constraints
While Walls advocates for interdisciplinary approaches that merge literature and geography, she does not fully address the institutional barriers that often hinder such integration in academia. Critics might point out that disciplinary divisions are not merely theoretical but are reinforced by academic structures, funding, and publishing norms that make interdisciplinary work difficult to implement in practice.
Potential Overgeneralization of Literary Spatial Dynamics
Walls makes broad claims about literature’s role in shaping and contesting space, but some critics might argue that she does not sufficiently account for variations across different genres, historical contexts, and literary traditions. Her focus on spatial readings of canonical American literature could be expanded to include more diverse literary traditions that engage with space in different ways.
Insufficient Engagement with Alternative Indigenous Spatial Theories
While Walls discusses Indigenous geographies and subaltern spaces, some critics may argue that her analysis is largely grounded in Western theoretical frameworks, such as Lefebvre and Soja. A stronger engagement with Indigenous scholars and spatial theorists could provide a more nuanced and decolonial approach to the study of space in literature.

Abstract Theoretical Language May Limit Accessibility
The complex theoretical discussions in Walls’ essay, particularly regarding the spatial turn and conceptual violence, might be difficult for readers unfamiliar with spatial theory. Some critics could argue that her work would benefit from a more accessible writing style or additional concrete literary examples to illustrate her arguments more clearly.

Representative Quotations from “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls with Explanation

Quotation	Explanation
“The American map, which lies so apparently flat and solid, is in fact yeasty with such heterogeneous spaces.”	Walls critiques the illusion of a unified American space, emphasizing its internal diversity and contestation, challenging the perception of the nation as a singular entity (Walls, 2011, p. 860).
“Their form is their history.”	Quoting Humboldt, Walls highlights how geography and history are interconnected, shaping landscapes, cultures, and national identities over time (Walls, 2011, p. 861).
“Could have been, but was not. The watchword for the nineteenth century was disciplinary specialization, not fusion.”	She argues that academic disciplines fragmented rather than fused knowledge, limiting interdisciplinary understanding and preventing a holistic view of literature and geography (Walls, 2011, p. 862).
“The interpretive significance of space” is a concept that challenges “space-blinkered historicism.”	Walls references postmodern geographers to emphasize the role of space as an active, interpretive force rather than a neutral backdrop, challenging traditional historical readings (Walls, 2011, p. 863).
“America itself as a ‘place’—that is, a ‘space’ made meaningful—becomes ‘the record of assertion and displacement, of authority and the subversion of authority.'”	This statement underscores how American spatial identity is defined through contestations, exclusions, and power struggles, making space a site of ideological conflict (Walls, 2011, p. 864).
“What does it mean to identify not with a fixed national space but with a panoply of changing and contested spaces?”	Walls explores Hsu’s concept of scale-jumping and literary identification, showing how texts mediate instability in spatial belonging and national identity (Walls, 2011, p. 865).
“The real puzzle is not how an expanding US conquered its territory, but how that territory became ‘manifested’ as a free union of, by, and for the people.”	She critiques the ideological mechanisms that portray territorial expansion as consensual and natural rather than contested, exposing the constructed nature of U.S. nationalism (Walls, 2011, p. 866).
“Public space, in the sense of functional space, is always a construction, and as such an expression of someone’s will.”	Walls examines how public spaces are shaped by political, economic, and ideological interests, challenging assumptions about their neutrality and accessibility (Walls, 2011, p. 867).
“Cosmopolitan scale-jumping can use regionalism as a springboard, connecting what seem to be merely local struggles with similar struggles abroad.”	She highlights how regionalism can serve as both a site of resistance and complicity in global capitalism, emphasizing the role of literature in shaping political consciousness (Walls, 2011, p. 868).
“The boundary separating the disciplines of literature and geography is itself a geographical question, a problem of form which is simultaneously a problem of history.”	Walls argues for a transdisciplinary approach, suggesting that spatial and literary analyses must be understood as mutually constitutive, rather than as separate fields (Walls, 2011, p. 870).

“Literature And The New Cultural Geography” by Elizabeth Jones: Summary and Critique

“Literature and the New Cultural Geography” by Elizabeth Jones first appeared in Anglia: Journal of English Philology in 2008, published by De Gruyter.

Introduction: “Literature And The New Cultural Geography” by Elizabeth Jones

“Literature and the New Cultural Geography” by Elizabeth Jones first appeared in Anglia: Journal of English Philology in 2008, published by De Gruyter. This article examines the intersection between literary studies and geography, particularly through the lens of the New Cultural Geography, a movement that emerged in the 1980s. Jones argues that spatial awareness has become an essential analytical tool across multiple disciplines, including literature, influenced by postmodern critiques of representation, power, and ideology. Drawing on theorists such as Michel Foucault, Henri Lefebvre, and Fredric Jameson, she highlights how space is no longer seen as a passive backdrop but an active force intertwined with identity, power relations, and meaning-making. The article traces the historical reluctance of geographers to engage with literature, owing to geography’s traditional association with scientific objectivity, and how poststructuralist thought has challenged these boundaries. Jones also explores the contribution of key thinkers like Walter Benjamin, whose conceptualization of the “city-as-text” has had a lasting influence on urban literary studies, and Gaston Bachelard, who emphasized the poetics of space. Through case studies of postcolonial literature, travel writing, and cartographic representations in fiction, she demonstrates how literary texts construct, rather than merely reflect, spatial realities. Ultimately, Jones advocates for a deeper interdisciplinary dialogue between geography and literature, arguing that literary representations of space offer critical insights into social structures, cultural memory, and subjective experience. Her work underscores the growing recognition of geography’s role in shaping literary narratives, reinforcing the idea that space and text are mutually constitutive in understanding human experience.

Summary of “Literature And The New Cultural Geography” by Elizabeth Jones

1. The Growing Awareness of Space in Academic Disciplines

In recent decades, there has been a heightened awareness of the role of space in various disciplines, particularly in geography and the humanities.

Theorists such as Fredric Jameson and Michel Foucault have emphasized that “we live in spacious times” (Jones, 2008, p. 1).
The emergence of the New Cultural Geography has challenged traditional views of space as passive, asserting instead that it is “an active force in the world that is imbued with ideology and politics” (Jones, 2008, p. 2).

2. The Interdisciplinary Connection Between Geography and Literature

Geography has increasingly incorporated language and literature into its studies.
Barnes and Duncan (1992) argue that the etymology of geography, meaning “earth writing,” suggests an inherent connection to literature.
The rise of postmodernism and the crisis of representation has led geographers to reconsider the role of subjective narratives in understanding space (Jones, 2008, p. 3).

3. The Traditional Divide Between Geography and Literature

Historically, geography emphasized objective scientific methods and dismissed literary studies.
James Duncan and David Ley (1993) state that traditional geography aimed “to produce as accurate a reflection of the world as possible” (Jones, 2008, p. 4).

This opposition stemmed from the Enlightenment ideal that knowledge should be empirical and measurable.

4. The Postmodern Challenge to Objectivity in Geography

The postmodern crisis of representation questioned the ability of language and maps to objectively represent reality.

Duncan and Ley argue that “this revolt against objectivism, rationality and the meta-narratives which have guided enquiry has been one of the central themes in postmodern representation” (Jones, 2008, p. 6).
Postmodern geographers began embracing qualitative methods, including subjective experiences and fictional literature.

5. The Evolving Role of Maps and Writing in Spatial Representation

Cartography, once seen as a scientific tool, has been criticized for its colonial and hegemonic biases.
Blunt and Rose (1994) argue that “maps were themselves colonizing spaces perceived as empty and uninscribed” (Jones, 2008, p. 8).
Experimental forms of writing, such as montage narratives, challenge the traditional authority of authors in geography (Jones, 2008, p. 9).

6. The ‘New Cultural Geography’ and Its Methodological Shifts

The New Cultural Geography emerged in the 1980s, advocating for hermeneutic and interpretive approaches to space.
Barnes and Duncan (1992) suggest that “writing about worlds reveals as much about ourselves as it does about the worlds represented” (Jones, 2008, p. 10).

Subjective and narrative-driven research methods have since gained prominence.

7. The Work of Marc Brosseau in Literary Geography

Marc Brosseau’s Des romans-géographes (1996) is a landmark study that argues literature is not just a tool for geographical analysis but a constitutive force of space.

He criticizes the simplistic use of literature to “prove” geographical arguments, advocating instead for a true dialogue between disciplines (Jones, 2008, p. 12).
Brosseau states that “the interest of a dialogical relationship lies in its willingness to recognize the other as other” (Jones, 2008, p. 13).

8. The Enduring Influence of Traditional Stereotypes

Some interdisciplinary works, such as Geography and Literature: A Meeting of the Disciplines (Mallory & Simpson-Housley, 1987), reinforce traditional stereotypes.
The book treats geography as factual and literature as purely imaginative, limiting true interdisciplinary engagement (Jones, 2008, p. 14).
Cesar Caviedes, for example, writes that geographers “must often recognize (with envy) the sensitivity and innate intuition with which literary writers extract the purest reality of a region” (Jones, 2008, p. 15).

9. The Role of Walter Benjamin in Literary Spatial Studies

Walter Benjamin’s idea of the “city as text” has influenced interdisciplinary spatial analysis.
His work on Paris and the flâneur has inspired studies on urban geography and literary space (Jones, 2008, p. 16).

Deborah Parsons (2000) extends this idea to explore the female flâneuse, arguing that literature not only reflects but constructs the city (Jones, 2008, p. 17).

10. The City as a Central Focus in Literary Geography

Paris, London, and New York have been key sites of literary spatial analysis.

Marcy Schwartz (1999) describes Paris as a “transcultural literary capital” (Jones, 2008, p. 18).
Pierre-Marc de Biasi (2000) refers to Paris as “Paris-palimpseste, toujours déjà littéraire,” highlighting the city’s long-standing textual identity (Jones, 2008, p. 19).

11. Gaston Bachelard’s Impact on Spatial Poetics

Bachelard’s La Poétique de l’espace (1957) introduced the study of psychological and poetic space.
He emphasized the symbolic and experiential aspects of space, moving beyond geometrical analysis (Jones, 2008, p. 20).
His horizontal and vertical spatial axes remain widely used in both literary and geographical studies (Jones, 2008, p. 21).

12. Postcolonialism and the Spatial Imagination

Postcolonial theorists have linked geography with cultural identity.
Indira Karamcheti (1994) states that postcolonialism involves “an imaginative recovery of a ‘local place'” (Jones, 2008, p. 22).

Mary Louise Pratt’s Imperial Eyes (1992) introduced the contact zone, a spatial concept highlighting colonial encounters (Jones, 2008, p. 23).

13. The Role of Travel Writing in Spatial Analysis

Travel narratives inherently engage with space and cultural difference.

Sara Mills (1991) analyzes how colonial-era women’s travel writing reflected power dynamics (Jones, 2008, p. 24).
Adrien Pasquali (1994) notes a shift toward exploring familiar, local spaces, indicating a postmodern blurring of home and away (Jones, 2008, p. 25).

14. The Use of Maps in Literary Studies

Franco Moretti’s Atlas of the European Novel (1998) argues that “geography is not an inert container, but an active force” (Jones, 2008, p. 26).
However, Brosseau warns against “excessive ordering,” cautioning that mapping literature may oversimplify spatial meaning (Jones, 2008, p. 27).

15. Broader Interdisciplinary Initiatives

The géopoétique movement, led by Kenneth White, seeks to reunite nature and literature (Jones, 2008, p. 28).
Space and Place: The Geographies of Literature (Norquay & Smyth, 1997) explores how literature disrupts traditional notions of national identity (Jones, 2008, p. 29).

16. The Special Edition’s Contributions

This edition of Anglia explores interdisciplinary approaches to literature and cultural geography.
Articles discuss topics such as postcolonial space, landscape history, and the representation of tourist sites in literature (Jones, 2008, p. 30).
Notably, Russell West-Pavlov argues for rethinking postcolonial geography beyond textual analysis, emphasizing material spatial histories (Jones, 2008, p. 31).

17. The Need for Ongoing Interdisciplinary Dialogue

The relationship between geography and literature is still evolving.
Some works, like Brosseau’s, foster true dialogue, while others remain constrained by disciplinary stereotypes.

The challenge remains to move beyond binary oppositions—such as reality/fiction and objectivity/subjectivity—toward a more integrated approach to understanding space.

Theoretical Terms/Concepts in “Literature And The New Cultural Geography” by Elizabeth Jones

Term/Concept	Definition	Context in the Article
New Cultural Geography	A postmodern approach to geography that emphasizes the ideological and political nature of space.	Challenges the notion that space is neutral, arguing instead that it is socially constructed and embedded in power relations (Jones, 2008, p. 2).
Crisis of Representation	The postmodern rejection of objective knowledge, emphasizing that all representations are subjective.	Influenced geographical studies by questioning traditional methods of spatial representation, such as maps and objective descriptions (Jones, 2008, p. 6).
Space as Active Force	The idea that space is not merely a passive background but influences and structures social relations.	Space is seen as a dynamic entity shaping cultural identities and power structures (Jones, 2008, p. 2).
Spatial Turn	A shift in humanities and social sciences towards emphasizing the role of space in cultural and social studies.	Influenced by thinkers like Foucault, Lefebvre, and Jameson, leading to interdisciplinary studies between geography and literature (Jones, 2008, p. 1).
Postmodern Geography	A geographical approach influenced by postmodern theory, questioning objective mapping and incorporating subjective narratives.	Duncan and Ley argue that postmodern geography disrupts traditional Enlightenment ideals of objectivity (Jones, 2008, p. 11).
Geography as ‘Earth Writing’	The etymological meaning of geography, emphasizing its literary dimension.	Barnes and Duncan highlight that despite this, geography has historically excluded literature (Jones, 2008, p. 3).
Cartographic Anxiety	The concern that maps falsely present an objective, authoritative view of the world.	Blunt and Rose argue that maps were used as colonial tools, shaping perceptions of ’empty’ space (Jones, 2008, p. 8).
Hermeneutic Approaches	Interpretative methods that focus on subjective and narrative-driven understandings.	Replaces realist, mimetic representation in the New Cultural Geography (Jones, 2008, p. 10).
Space-Adjusting Technologies	Technologies that transform perceptions and experiences of space.	Dicken and Lloyd (1981) discuss the impact of transportation and communication on spatial relations (Jones, 2008, p. 2).
Text-as-City / City-as-Text	The idea that cities can be read like texts and that texts shape the perception of cities.	Developed by Walter Benjamin and later expanded upon in literary and urban studies (Jones, 2008, p. 16).
Flâneur	A figure representing the urban observer who navigates and interprets the city.	Discussed in relation to Benjamin’s work on Paris and the literary representation of urban spaces (Jones, 2008, p. 17).
Postcolonial Spatiality	The study of how colonialism shaped and continues to influence spatial relationships.	Pratt’s concept of the “contact zone” highlights the power dynamics in colonial encounters (Jones, 2008, p. 23).
Smellscapes	The role of scent in shaping spatial experience.	Brosseau explores how literature can convey sensory spatial experiences beyond visual representation (Jones, 2008, p. 13).
Palimpsestic Space	The idea that spaces, like texts, have multiple layers of meaning and history.	Paris is described as a “palimpseste, toujours déjà littéraire” (Jones, 2008, p. 19).
Ethnocentric-Free Analysis	A postmodern critique of traditional geographic studies that imposed Eurocentric perspectives.	Duncan and Ley advocate for recognizing all research as ideologically situated (Jones, 2008, p. 11).
Geo-poetics	An approach integrating geography and literature to understand cultural and environmental relationships.	Kenneth White’s géopoétique movement explores how literature interacts with the landscape (Jones, 2008, p. 28).
Literary Mapping	The practice of charting fictional spaces and their connections to real-world geography.	Moretti’s Atlas of the European Novel exemplifies this method, though it risks oversimplification (Jones, 2008, p. 26).
Contact Zone	A space of cultural exchange and conflict between colonizers and indigenous peoples.	Pratt defines this as the site of colonial encounters and transcultural interactions (Jones, 2008, p. 23).
Chorological Poetics	The study of the poetic representation of regions and spatial relationships.	Examined by Thurgar-Dawson in DeLillo’s Underworld (Jones, 2008, p. 30).

Contribution of “Literature And The New Cultural Geography” by Elizabeth Jones to Literary Theory/Theories

1. The Spatial Turn in Literary Studies

Jones’ work emphasizes the increasing importance of space in literary analysis, highlighting how geography and literature intersect.

She asserts that “the preoccupation with space has become increasingly interdisciplinary” and that space “plays a role in individual identity formation” (Jones, 2008, p. 2).
This aligns with the broader spatial turn in humanities, as explored by theorists such as Michel Foucault and Henri Lefebvre.

2. Postmodernism and the Crisis of Representation

The text contributes to postmodern literary theory by critiquing the Enlightenment notion of objective knowledge and stable representation.
“Not only has the notion of impartial, objective knowledge been undermined, then, but the means through which knowledge can be articulated has also been called into question” (Jones, 2008, p. 6).
This builds upon the postmodernist argument that language and representation are inherently unstable (Duncan & Ley, 1993).

3. Literary Cartography and the Problematization of Maps

Jones explores how literature and geography have traditionally approached space differently, emphasizing how cartography is not merely objective but embedded in cultural narratives.
“Mapping operates in hegemonic discourses as a form of mimetic representation – it textually represents the gaze through transparent space” (Blunt & Rose, cited in Jones, 2008, p. 8).

This discussion contributes to literary cartography and aligns with Franco Moretti’s Atlas of the European Novel (1998), which maps literary spaces.

4. The City-as-Text and Urban Literary Studies

Drawing from Walter Benjamin, Jones highlights how literature and geography converge in urban studies.

She states, “Benjamin’s work was ground-breaking on a theoretical level due to the strength with which he championed the notion of not only ‘city-as-text’ but also ‘text-as-city'” (Jones, 2008, p. 16).
This contributes to urban literary studies by framing literature as a constitutive force in shaping perceptions of cities.

5. Postcolonialism and Spatial Critique

The text engages with postcolonial literary theory by analyzing how colonialism influenced spatial representation in literature.
“Whereas colonialism involved the physical domination of many of the world’s spaces, postcolonialism involves ‘an imaginative recovery of a ‘local place'” (Karamcheti, cited in Jones, 2008, p. 23).
This aligns with Mary Louise Pratt’s Imperial Eyes (1992), which introduced the concept of the “contact zone” in colonial literature.

6. Geo-Poetics and Environmental Literary Studies

Jones highlights Kenneth White’s géopoétique movement, which integrates environmental concerns with literary geography.
“The enduring nature of this movement as well as its admirable overall aim to ‘renouveler complètement la carte mentale’ [completely renew the mental map]” (White, cited in Jones, 2008, p. 28).

This contributes to ecocriticism and environmental literary studies by emphasizing literature’s role in shaping ecological consciousness.

7. The Feminist Critique of Spatial Representation

The article incorporates feminist theory by critiquing how space and objectivity have been historically gendered.

“Feminist thinkers argue that the idea of objectivity in fact conceals Enlightenment models of the ideal citizen, who was white, male and middle class” (Seidman, cited in Jones, 2008, p. 11).
This aligns with Alison Blunt and Gillian Rose’s Writing Women and Space (1994), which explores gendered spatial politics.

8. Travel Writing and the Deconstruction of Exoticism

Jones examines how contemporary travel writing disrupts traditional notions of “home” and “abroad.”
“The new travelers explore the tastes of Paris, certain suburbs, and J.-D. Urbain designates them as ‘voyageurs de l’interstice'” (Pasquali, cited in Jones, 2008, p. 24).
This builds on Sara Mills’ Discourses of Difference (1991), which critiques colonialist narratives in travel writing.

9. Literature as Constitutive of Space

Instead of viewing literature as merely reflecting reality, Jones argues that literature actively shapes perceptions of space.
“Studying contemporary literature could act as ‘le détonateur d’une nouvelle façon de penser l’espace’ [the catalyst for a new way of thinking about space]” (Brosseau, cited in Jones, 2008, p. 21).

This contributes to literary geography by positioning literature as an active force in spatial discourse.

10. Interdisciplinary Dialogue between Geography and Literary Studies

Jones calls for a deeper interdisciplinary exchange between geography and literature, moving beyond superficial uses of literature in geographic studies.

“The creation of the genuine dialogue that Brosseau calls for aims, in short, to avoid superficial, self-validating interdisciplinary contacts” (Jones, 2008, p. 22).
This aligns with Glenda Norquay and Gerry Smyth’s Space and Place: The Geographies of Literature (1997), which fosters literary-geographical collaboration.

Examples of Critiques Through “Literature And The New Cultural Geography” by Elizabeth Jones

Literary Work	Critique Through “Literature and the New Cultural Geography”	Reference from the Article
Underworld by Don DeLillo	Examines the novel through “chorological poetics,” emphasizing six socio-spatial modes that shape narrative identity. The text portrays space as an active force, rather than a passive setting.	“Thurgar-Dawson takes the notion of ‘chorology’, or the ‘geo-social study of specific regions’ and identifies six socio-spatial modes within DeLillo’s Underworld that together comprise a ‘chorological poetics'” (Jones, p. 237).
Des romans-géographes by Marc Brosseau	Demonstrates how literature contributes to geographic thought, proposing that literary texts actively construct space rather than merely reflect it. The novel explores the connection between human experience and spatial representation.	“Brosseau himself recognises that literature has ‘sa propre façon de ‘faire’ de la géographie, ou du moins, d’écrire l’espace et les lieux des hommes'” (Jones, p. 227).
Parisian Fields (Ed. Michael Sheringham)	Argues that the representation of Paris in literature constructs an interwoven semantic network that shapes urban identity. Literature is not just a reflection of space but actively constructs urban perception.	“Sheringham defines Paris as a ‘semantic network […] whose co-ordinates are determined by the movement of agents or agencies to which it plays host'” (Jones, p. 230).
Imperial Eyes: Travel Writing and Transculturation by Mary Louise Pratt	Highlights the concept of the “contact zone,” where colonial and indigenous cultures intersect, influencing space and narrative. Challenges traditional Eurocentric geographies.	“This term, which is clearly of use to those within the field of geography as well as that of travel writing, is used to refer ‘to the space of colonial encounters, the space in which peoples geographically and historically separated come into contact with each other and establish ongoing relations'” (Jones, p. 233).

Criticism Against “Literature And The New Cultural Geography” by Elizabeth Jones

Overemphasis on Postmodernism
- The article heavily relies on postmodern theories, particularly the “crisis of representation,” without sufficiently addressing alternative or competing frameworks.
- “Not only has the notion of impartial, objective knowledge been undermined, then, but the means through which knowledge can be articulated has also been called into question” (Jones, p. 224).
Limited Engagement with Empirical Geography
- While the article critiques objective geography, it does not engage deeply with empirical geographic methodologies that remain central to spatial analysis.
- It tends to privilege literary and theoretical discussions over real-world spatial studies.
Reduction of Cartography to Colonialist Discourse
- The discussion on cartography predominantly presents maps as tools of colonial control and ideological imposition, neglecting their practical and technological advancements in spatial representation.
- “Conventional map-making, then, is dependent upon pretensions to objective knowledge and transparent representation” (Jones, p. 225).
Insufficient Attention to Non-Western Spatial Theories
- The article primarily engages with European and Anglo-American theorists, overlooking contributions from non-Western spatial traditions and indigenous geographies.
- Concepts such as “space-adjusting technologies” are discussed without broader cultural perspectives.
Reinforcement of the Literature-Geography Divide
- While aiming for interdisciplinary synthesis, the article often maintains traditional disciplinary boundaries by treating geography as theoretical and literature as creative rather than fully integrating both as co-constructive forces.
- “Brosseau himself recognises that literature has ‘sa propre façon de ‘faire’ de la géographie'” (Jones, p. 227).
Lack of Practical Application
- The work remains largely theoretical, providing minimal practical examples of how the New Cultural Geography can be applied to contemporary literary studies or geographic research.
- It does not explore how literary methodologies can be systematically incorporated into geographical research beyond abstract discussions.

Representative Quotations from “Literature And The New Cultural Geography” by Elizabeth Jones with Explanation

#	Quotation	Explanation
1	“Awareness of space has been heightened in many areas of life in recent times.” (Jones, p. 221)	Jones establishes the central argument that spatial awareness is not just a geographical concern but a broad interdisciplinary issue.
2	“Space is not a dead passive arena in which things happen, but rather an active force in the world that is imbued with ideology and politics.” (Jones, p. 222)	The quotation reflects a major premise of New Cultural Geography: space is socially constructed and politically charged rather than neutral.
3	“Not only has the notion of impartial, objective knowledge been undermined, then, but the means through which knowledge can be articulated has also been called into question.” (Jones, p. 224)	Jones aligns with postmodernist critiques of knowledge and representation, arguing that all knowledge—including geographic knowledge—is subjective.
4	“Conventional map-making, then, is dependent upon pretensions to objective knowledge and transparent representation.” (Jones, p. 225)	She critiques traditional cartography, arguing that maps are ideological tools rather than neutral representations of space.
5	“Brosseau himself recognises that literature has ‘sa propre façon de ‘faire’ de la géographie’.” (Jones, p. 227)	Jones references Brosseau to emphasize that literature does not just describe geography but actively shapes spatial understanding.
6	“Literature, like all art, is ultimately a reflection and illustration of the landscape that produced it.” (Jones, p. 228)	This statement, while contested, suggests that literary works are deeply embedded in their spatial contexts and can serve as geographic texts.
7	“The role of the encounter with, and imaginative response to, urban space is ultimately to provide insights into the individual as much as to the city.” (Jones, p. 229)	Jones highlights the reciprocal relationship between human identity and urban spaces, influenced by thinkers like Walter Benjamin.
8	“Geography is not an inert container, is not a box where cultural history ‘happens,’ but an active force that pervades the literary field and shapes it in depth.” (Jones, p. 234)	This quote reinforces the argument that geography is not merely a setting but an active agent in literature and culture.
9	“Mapping operates in hegemonic discourses as a form of mimetic representation—it textually represents the gaze through transparent space.” (Jones, p. 225)	She critiques traditional cartography, emphasizing how maps reinforce power structures through their representations.
10	“Whilst some of the articles aim to do this through re-evaluating and reforming the traditional assumptions of the field, others forge new ground by taking a multi-faceted approach and bringing together a number of previously separate areas of academic enquiry.” (Jones, p. 236)	Jones acknowledges the interdisciplinary nature of the New Cultural Geography and the need to rethink traditional assumptions.

“Literature and Humanist Geography” by J. Douglas Porteous: Summary and Critique

“Literature and Humanist Geography” by J. Douglas Porteous first appeared in 1985 in the journal Area, volume 17, issue 2.

Introduction: “Literature and Humanist Geography” by J. Douglas Porteous

“Literature and Humanist Geography” by J. Douglas Porteous first appeared in 1985 in the journal Area, volume 17, issue 2. The article discusses the intersection of geography and literature, particularly through the lens of humanist geography, which emphasizes the human experience of place over the physical or natural landscape. Porteous critiques the traditional geographical analysis of literature that focuses largely on rural or regional settings, and instead proposes a conceptual framework that engages with broader human experiences of place, such as “home” versus “away” and “insider” versus “outsider.” He suggests that these frameworks, derived from phenomenology and existentialism, offer a more nuanced understanding of how place influences human identity, and, by extension, literary production. The importance of this approach in literary theory lies in its ability to connect geographical contexts with human emotions and experiences, providing deeper insights into how authors are shaped by, or in contrast to, the environments they inhabit. The article bridges humanist geography and literary analysis, offering new perspectives on how literature reflects and influences our understanding of the spaces we occupy. This work has had significant influence in both geography and literary studies, especially in terms of understanding the relationship between literature and its geographical context.

Summary of “Literature and Humanist Geography” by J. Douglas Porteous

Critique of Traditional Geographical Analyses of Literature: Porteous observes that geographers have predominantly focused on the regional novel, emphasizing rural settings and descriptive works that capture the essence of a region. He notes that this approach often overlooks broader human experiences of place and the emotional connections individuals have with their environments. He states, “The tendency is generally towards the study of a single novelist’s depiction of a single region” (Porteous, 1985, p. 118).
Introduction of a Humanist Approach: Porteous advocates for a humanist perspective that prioritizes human experiences and emotions in relation to place. He introduces a conceptual framework using a home:away/insider:outsider matrix to analyze literature. This framework considers the fundamental distinctions of existential insider versus outsider and the dichotomy of home versus away, aiming to capture the complexities of human experiences in various settings. He proposes, “Using the concepts provided by humanist geography, I therefore propose that this genre can be captured, albeit crudely, in matrix form” (Porteous, 1985, p. 119).

Application of the Framework

Porteous applies this matrix to categorize different literary themes:

Home-Insider: Literature that explores individuals deeply connected to their native places, often found in regional novels.

Away-Outsider: Works depicting individuals who feel alienated or displaced, such as travelers, exiles, or those experiencing rootlessness. He notes, “Outsideness is a common theme in twentieth-century literature” (Porteous, 1985, p. 120).
Home-Outsider: Literature focusing on individuals who, despite being in their native places, feel estranged or disconnected.
Away-Insider: Works about individuals who, while away from home, achieve a sense of belonging or self-realization.

Call for Further Exploration: Porteous emphasizes the need for geographers to delve deeper into the human aspects of literature, moving beyond traditional analyses. He encourages the exploration of themes like rootlessness, anomie, and exile, which are prevalent in modern literature but have received limited attention from geographers. He states, “Yet an investigation of the literary output of Graham Greene, Malcolm Lowry, Aldous Huxley, D H Lawrence, Lawrence Durrell, James Joyce, and similar authors of the inter-war years might well promote our understanding of the origins of western civilisation’s deepening malaise” (Porteous, 1985, p. 121).

Conclusion: Porteous concludes that integrating humanist concepts into the geographical interpretation of literature can lead to a more nuanced understanding of literary landscapes. He suggests that this approach complements traditional methods and offers new avenues for exploring the relationship between literature and geography. He asserts, “By developing a humanist approach to the geographical interpretation of imaginative literature, a more balanced assessment of the value of literary landscapes may emerge” (Porteous, 1985, p. 122).
This humanist approach provides a framework for analyzing literature that considers the emotional and existential dimensions of human experiences in relation to place, offering a more comprehensive understanding of the interplay between geography and literature.

Theoretical Terms/Concepts in “Literature and Humanist Geography” by J. Douglas Porteous

Theoretical Term/Concept	Definition/Usage in the Article	Reference in the Article & Usage
Humanist Geography	A perspective in geography that focuses on human experience, meaning, and subjectivity in relation to places, drawing from existentialism and phenomenology.	Discussed as a reaction against traditional geographical analysis. Humanist geographers emphasize human experience over geographic realism (p. 118).
Sense of Place	A widely used but overemphasized concept in geographical studies, referring to the deep personal and emotional connection to a place.	Porteous critiques the overuse of this term, arguing that even humanist geographers are often limited to place-focused studies rather than human experience (p. 119).
Placelessness	A state where a person lacks attachment or identity with any place, often associated with urban life and modern alienation.	Linked to existential outsider status and the theme of rootlessness in 20th-century literature, particularly in urban settings (p. 119-120).
Insider/Outsider	A conceptual framework distinguishing those who feel connected to a place (insiders) from those who experience detachment (outsiders).	Derived from Relph (1976) and used to classify characters in literature who either belong to or are estranged from their environment (p. 119).
Home/Away	A binary distinction where “home” represents security and familiarity, while “away” represents travel, exile, or alienation.	Used to construct a conceptual matrix for literary geography (Figure 1, p. 119).
Roots/Rootlessness	The extent to which an individual is either connected to a place (rooted) or displaced (rootless).	Discussed in relation to Middleton (1981) and the theme of exile, alienation, and yearning for home (p. 119-120).
Home-Insider	Someone deeply connected to their home environment, often represented in regional literature.	The dominant subject in regional novels and nostalgic literature that celebrates traditional communities (p. 119).
Away-Outsider	A figure in literature who experiences both physical and existential displacement, often associated with themes of alienation and anomie.	Frequently found in 20th-century modernist literature (e.g., Camus, Wilson). Porteous suggests geographers should study alienation in urban settings rather than focusing on rural nostalgia (p. 119-120).
Home-Outsider	A person who remains physically at home but feels existentially detached or trapped.	Explored in relation to Porteous (1976), which argues that home is not always positive and can feel imprisoning (p. 120).
Away-Insider	An individual who finds meaning, belonging, or self-realization through travel or displacement.	Seen in adventure, sea, and road novels where the protagonist attains identity by journeying (p. 120).
Space vs. Place	Tuan’s framework distinguishing between abstract, undifferentiated “space” and meaningful, personal “place.”	Porteous critiques geographers who focus too much on the place-space dialectic rather than human experience (p. 119).
Literary Geography	The study of literature to analyze how places, landscapes, and environments are represented.	The entire article revolves around this concept, urging geographers to engage more with literature beyond regional studies (p. 118-119).
Word Painting	A literary technique where descriptive passages vividly create images of regions and landscapes.	One of Pocock’s (1981) three traditions of geographical literature (p. 118).
Geography Behind Literature	A method of analyzing literature for its accuracy in depicting real-world geography.	Another of Pocock’s (1981) traditions, focusing on how well literature represents geographic reality (p. 118).
Geography in Literature	The process of extracting geographical elements from literary texts to construct a broader geographical understanding.	The final of Pocock’s (1981) traditions, using literature as a “quarry” for geographical insights (p. 118).
The Journey Narrative	A common literary structure where movement, exile, and displacement are central themes.	Key in Lowry, Greene, and Joyce’s literature; geographers should engage with this theme to understand human movement (p. 120-121).
Existentialism and Phenomenology in Geography	Approaches emphasizing lived experience and personal meaning rather than objective geography.	Humanist geography adopts existentialist ideas of being “in place” or “out of place”, influencing literary interpretation (p. 119).
Anomie and Alienation	Feelings of social detachment, often experienced in modern urban environments.	A major theme in 20th-century literature, particularly in depictions of placelessness and exile (p. 120).
Metaphor in Geography	The use of symbolic language to interpret geographical elements in literature.	Mentioned as an emerging field among geographers, referencing Tuan (1978) and Mills (1982) (p. 120).
Allegory in Literature and Geography	The interpretation of landscapes and places in novels as symbolic of deeper existential themes.	Porteous cites Lowry’s novels as examples of strong allegorical landscapes that reflect psychological states (p. 121).
Pastoral and Counter-Pastoral	A contrast between the romanticized ideal of rural life (pastoral) and its critique (counter-pastoral).	Seen in literature that either idealizes rural life (Hardy) or critiques it (Lawrence, Orwell) (p. 121).
Wilderness vs. Civilization	The contrast between untamed nature and structured urban environments.	Explored through writings on deserts, islands, forests, and cityscapes, urging geographers to study these literary motifs (p. 120-121).
City as a Deathscape	A literary motif where cities are depicted as sites of fear, corruption, and existential decay.	Key theme in Lowry’s work, where cities symbolize destruction and death (p. 121).

Contribution of “Literature and Humanist Geography” by J. Douglas Porteous to Literary Theory/Theories

1. Phenomenology and Literary Geography

Key Theoretical Contribution:

Porteous engages with phenomenology, particularly Yi-Fu Tuan’s (1977) Space and Place, and Edward Relph’s (1976) Place and Placelessness, to argue that literature should be analyzed not just for its description of places, but for its representation of human experience within place.

How It Contributes:

He critiques the traditional literary geographic focus on regional novels and suggests a more humanist approach that emphasizes individual experience (Porteous, 1985, p. 118).
He introduces the insider-outsider dialectic, arguing that literary works should be examined for how characters experience place subjectively, rather than just for geographic accuracy (p. 119).

Conceptual Framework: The Home/Away and Insider/Outsider matrix (p. 119) mirrors phenomenological inquiries into human perception of place and has applications in interpreting existential displacement in literature.

Intext Reference:

“The emphasis is on human experience, rather than on places themselves” (Porteous, 1985, p. 119).

Theoretical Alignment:

Phenomenology of Perception (Merleau-Ponty, 1945) – Literary geography should engage with how places are subjectively experienced.
Topophilia (Tuan, 1974) – Porteous builds on this work to critique the overemphasis on “sense of place” in literary studies (p. 119).

2. Existentialism in Literary Studies

Key Theoretical Contribution:

Porteous applies existentialist ideas to literature, particularly the existential outsider, an archetype found in works by Camus (1946) and Wilson (1970).

How It Contributes:

He argues that geographers should shift focus from static regional descriptions to dynamic existential themes such as alienation, exile, and placelessness (p. 119-120).
He highlights 20th-century literature’s preoccupation with existential displacement (e.g., The Outsider by Camus, Under the Volcano by Lowry), linking them to rootlessness and placelessness (p. 121).

His matrix (Figure 1) places alienation and rootlessness at the core of modern literature, encouraging geographers to analyze narratives of exile and anomie (p. 120-121).

Intext Reference:

“Outsideness is a common theme in twentieth-century literature but has received only slight attention from geographers” (Porteous, 1985, p. 119).

Theoretical Alignment:

Sartre’s Existentialism (1943) – The notion that place is essential for constructing identity, but modern life creates a sense of placelessness.
Camus’ Absurdism (1942) – Porteous’ description of the Away-Outsider aligns with the existential antihero found in Camus’ and Wilson’s works.

3. Spatial Theory and Literary Criticism

Key Theoretical Contribution:

Porteous contributes to Spatial Literary Theory by suggesting that space and place function as narrative structures rather than mere settings.

How It Contributes:

He critiques geographers’ overemphasis on static landscapes and calls for an analysis of movement, exile, and journey in literature (p. 119).
His Away-Insider category introduces a nomadic subjectivity, which can be linked to Deleuze and Guattari’s concept of deterritorialization (p. 120).

He suggests that landscapes in novels act as symbolic, even sentient forces (p. 121), a view compatible with Bakhtin’s (1981) chronotope, where space is an active participant in shaping narrative time.

Intext Reference:

“Literary works must be regarded as dynamic within the matrix… Overlaps abound, and in many cases, authors and protagonists move from one state to another” (Porteous, 1985, p. 121).

Theoretical Alignment:

Bakhtin’s Chronotope (1981) – The idea that space is a determinant of narrative structure, seen in Porteous’ spatial matrix.
Deleuze and Guattari’s Nomadology (1986) – The Away-Insider category captures nomadic movement as a transformative experience.

4. Postcolonial Theory and the Exile Narrative

Key Theoretical Contribution:

Porteous’ discussion of home-outsiders and rootlessness resonates with postcolonial themes of exile, diaspora, and the colonial subject’s identity crisis.

How It Contributes:

He identifies a category of displaced individuals who feel alienated from their home even after returning (p. 121).
He references V.S. Naipaul’s The Mimic Men (1967) as an example of postcolonial exile, where returning colonial subjects become outsiders in their homeland (p. 121).

His emphasis on literature portraying exile, displacement, and identity crisis links to postcolonial theory’s concerns with belonging and spatial otherness.

Intext Reference:

“Such people readily become strangers in their own lands, for their values and attitudes have changed” (Porteous, 1985, p. 121).

Theoretical Alignment:

Said’s Orientalism (1978) – The Away-Outsider aligns with the postcolonial subject struggling with identity.
Bhabha’s The Location of Culture (1994) – Porteous anticipates hybridity and cultural in-betweenness in his discussion of exile.

Conclusion: Broader Implications for Literary Theory

Porteous’ Literature and Humanist Geography contributes to literary theory by:

Expanding Phenomenology and Existentialism into Literary Geography – He shifts focus from physical landscapes to human experience in place (p. 118-119).

Applying Spatial Theory to Narrative – His Home/Away-Insider/Outsider matrix helps analyze mobility, exile, and alienation in literature (p. 119-121).
Bridging Literary Geography with Postcolonial Studies – He highlights postcolonial displacement and rootlessness as central literary themes (p. 121).
Encouraging Geographers to Study Alienation and Placelessness in Modern Literature – He argues that themes of exile and identity loss are essential for humanist geography (p. 120-121).

Porteous’ work thus serves as a foundational text in Literary Geography, offering conceptual tools that enrich literary analysis beyond traditional geographic interpretation.

Key References from the Article:

Porteous, J.D. (1985). Literature and Humanist Geography. Area, 17(2), 117-122.

Relph, E. (1976). Place and Placelessness.
Tuan, Y-F. (1977). Space and Place.
Camus, A. (1946). The Outsider.

Naipaul, V.S. (1967). The Mimic Men.
Bakhtin, M. (1981). The Dialogic Imagination.
Deleuze, G. & Guattari, F. (1986). Nomadology.

Said, E. (1978). Orientalism.
Bhabha, H. (1994). The Location of Culture.

Examples of Critiques Through “Literature and Humanist Geography” by J. Douglas Porteous

Literary Work & Author	Critique Through Porteous’ Framework	Relevant Concepts from Porteous
Under the Volcano – Malcolm Lowry	The protagonist, Geoffrey Firmin, embodies the Away-Outsider, a man lost in an existentially hostile landscape. The novel’s setting, Mexico, is not just a backdrop but an active, oppressive force, mirroring Firmin’s psychological descent. Porteous’ argument that literature should explore alienation and placelessness instead of merely describing settings applies here (Porteous, 1985, p. 121).	Away-Outsider, Placelessness, City as a Deathscape, Anomie and Alienation, Existential Geography
The Outsider (L’Étranger) – Albert Camus	Meursault, the protagonist, disrupts traditional “sense of place” narratives by showing indifference to his surroundings. His detachment from place and people aligns with Porteous’ critique of human experience being neglected in traditional geography. The novel exemplifies the modern urban individual as a rootless figure, reinforcing Porteous’ view that geographers should examine alienation in cities rather than just landscapes (p. 120).	Away-Outsider, Placelessness, Existentialism in Geography, Human Experience Over Geographic Realism
The Mimic Men – V.S. Naipaul	The protagonist struggles with postcolonial displacement, living between his Caribbean homeland and London, yet belonging to neither. Porteous’ Home-Outsider and Away-Outsider dialectic applies, as the character is emotionally disconnected from both locations. Porteous argues that literary geography should explore exile, rootlessness, and cultural alienation, which aligns with Naipaul’s themes of identity crisis (p. 121).	Home-Outsider, Away-Outsider, Postcolonial Displacement, Sense of Place vs. Placelessness
Coming Up for Air – George Orwell	Orwell’s novel critiques the illusion of a stable home. The protagonist returns to his childhood town, expecting familiarity but instead finds a modernized, alien environment. Porteous’ Home-Outsider concept explains this nostalgia-turned-disillusionment, showing that places do not remain fixed in memory or reality. The novel supports Porteous’ call for geographers to analyze modernization’s impact on place attachment (p. 121).	Home-Outsider, Urbanization and Loss of Place, Sense of Place as Nostalgia, Alienation in Modernity

Criticism Against “Literature and Humanist Geography” by J. Douglas Porteous

1. Overemphasis on Existentialist and Phenomenological Approaches

Porteous heavily relies on existentialism and phenomenology (e.g., Relph, Tuan) without fully addressing other theoretical frameworks like Marxist geography, feminist geography, or structuralism.
Critique: His framework prioritizes individual perception of place over socioeconomic and political structures that shape geographical experiences.

2. Limited Engagement with Postcolonial and Critical Theories

While he briefly discusses postcolonial displacement (e.g., Naipaul’s The Mimic Men), he does not fully explore colonialism’s role in shaping geographical identity and power dynamics.
Critique: His Home/Away-Insider/Outsider framework does not account for the forced displacement, imperialist spatial control, or the complexities of hybrid identities in postcolonial literature.

3. Western-Centric Literary Focus

The examples and references in the article are predominantly Western (e.g., Hardy, Lowry, Orwell, Camus).
Critique: It lacks engagement with non-Western literary traditions that offer alternative spatial and existential narratives (e.g., Indigenous storytelling, African diasporic literature).

4. Simplistic Categorization in the Home/Away-Insider/Outsider Matrix

While useful, the four-category framework oversimplifies human relationships with place.
Critique: It does not account for fluid identities, multiple place attachments, or liminal states where characters exist between categories (e.g., migrants, refugees, diasporic identities).

5. Insufficient Consideration of Urban and Economic Geographies

Porteous criticizes geographers for focusing on regional novels and landscapes, but his own work does not deeply engage with urban literature or economic geography.
Critique: He overlooks how capitalism, industrialization, and urban planning contribute to placelessness and alienation in literature.

6. Lack of Empirical Support or Case Studies

The article presents strong theoretical arguments, but does not include concrete literary case studies or textual analysis beyond broad references.
Critique: Without deeper engagement with primary texts, his claims about literary geography remain more prescriptive than demonstrative.

7. Absence of Interdisciplinary Methodology

Although he calls for geographers to engage more with literature, he does not provide a clear interdisciplinary methodology for how geographers should conduct literary analysis.
Critique: The lack of specific analytical tools limits the practical application of his framework for literary scholars and geographers alike.

Representative Quotations from “Literature and Humanist Geography” by J. Douglas Porteous with Explanation

Quotation	Explanation and Significance
“The emphasis is on human experience, rather than on places themselves.” (Porteous, 1985, p. 119)	This statement encapsulates humanist geography’s shift from objective descriptions of landscapes to an emphasis on subjective human experience in place. Porteous argues that geographers should focus more on the existential and emotional dimensions of place in literature rather than just physical geography.
“The ‘sense of place’ notion bedevils the literary geographer.” (Porteous, 1985, p. 119)	Porteous critiques the overuse of “sense of place” in literary geography, arguing that it can limit analysis to regional novels and ignore other spatial experiences such as exile, displacement, and placelessness. This challenges traditional regional geography’s focus on nostalgia and rootedness.
“Geographers have almost wholly concerned themselves with the novel of place, usually a rural place. Thus the regional novel has become a geographical shibboleth.” (Porteous, 1985, p. 118)	This critique highlights how literary geography has been disproportionately focused on rural regional novels (e.g., Hardy’s Wessex), neglecting urban literature, exile narratives, and modern spatial experiences. Porteous calls for a broader engagement with different literary forms and settings.
“Notions of place: placelessness, roots: rootlessness, and insider: outsider are powerful instruments for the interpretation of imaginative literature in a human context.” (Porteous, 1985, p. 119)	Here, Porteous introduces his conceptual framework (Home/Away – Insider/Outsider matrix), which offers a new lens to analyze literary characters and settings. His framework moves beyond mere landscape descriptions to the human relationships with place.
“The interpretation of imaginative literature has much to offer geography.” (Porteous, 1985, p. 122)	This is the core argument of the article, advocating for an interdisciplinary approach between literature and geography. Porteous asserts that geographers should not only borrow from literary criticism but also contribute new geographic insights to literary studies.
“Few geographers of any description, for example, are interested in war, refugees, human rights, or related themes, against which yet another study in office location, the shopping trip, or recreation resource management pales into insignificance.” (Porteous, 1985, p. 121)	This is a strong critique of traditional geography, which often focuses on economic and physical geography at the expense of human crises and displacement. Porteous urges geographers to study conflict, exile, and migration in literature, as these themes are central to modern human experience.
“Home does not always have a positive valence.” (Porteous, 1985, p. 120)	This challenges the romanticized view of home in literary geography. He argues that home can be suffocating, restrictive, or even alienating, aligning with literary themes found in Orwell, Joyce, and Naipaul.
“Cities become symbols of fear, corruption, destruction, and death, merciless predators on human life.” (Porteous, 1985, p. 121)	This comment reflects Porteous’ engagement with modernist literature, particularly Malcolm Lowry’s urban landscapes in Under the Volcano. He suggests that literature often depicts urban environments as existentially threatening, which geographers should analyze further.
“The young-man-finds-himself-at-sea novel, common before World War II, is a case in point, as are road, tramp, and down-and-out novels.” (Porteous, 1985, p. 120)	This quote identifies Away-Insider characters, showing how mobility and travel narratives serve as identity formation tools. He suggests geographers should engage more with travel literature and road novels.
“A more balanced assessment of the value of literary landscapes may emerge.” (Porteous, 1985, p. 122)	Porteous calls for a synthesis of traditional and humanist geography, proposing that both objective geographic analysis and subjective human experience should be valued in literary geography.

Key Insights from the Table:

Porteous criticizes the narrow focus on rural landscapes in literary geography.

He advocates for studying exile, migration, and urban alienation in literature.
His Home/Away – Insider/Outsider framework offers a fresh way to analyze spatial relationships in literature.
He calls for an interdisciplinary approach, encouraging geographers to engage with literary criticism and humanist themes.

“Literary Geography: Setting And Narrative Space” by Sheila Hones: Summary and Critique

“Literary Geography: Setting and Narrative Space” by Sheila Hones first appeared in 2011 in the Social & Cultural Geography journal.

Introduction: “Literary Geography: Setting And Narrative Space” by Sheila Hones

“Literary Geography: Setting and Narrative Space” by Sheila Hones first appeared in 2011 in the Social & Cultural Geography journal. In this article, Hones explores how narrative theory and literary geography can be merged to better understand the role of setting and narrative space in literature. She critiques the traditional approach in literary geography, which views space merely as a static background for action, and emphasizes the need to move beyond this simplistic perspective. By examining works like P.K. Dick’s The Man in the High Castle, J.A. Mitchell’s The Last American, and F. Scott Fitzgerald’s The Great Gatsby, Hones argues that literary space is not fixed but contingent, shaped by the interactions between the narrative, the author, and the reader. The article highlights the potential of combining the specificity of narrative theory with the broader imaginative scope of spatial theory, thus advancing a more dynamic and interdisciplinary approach to the study of literary spaces (Hones, 2011).

Summary of “Literary Geography: Setting And Narrative Space” by Sheila Hones

Interdisciplinary Connection Between Narrative Theory and Literary Geography
The article examines how the tools of narrative theory can enhance the study of literary geography, particularly in understanding setting and narrative space. Hones suggests that despite narrative theory’s inclination to categorize space as fixed and stable, its technical vocabulary offers valuable insights to literary geographers (Hones, 2011).
Traditional View of Narrative Space
Historically, narrative space was understood as the background setting for events in a story, often treated as a stable “container” in literary geography. However, recent advancements in both narrative theory and literary geography have shifted toward a more complex view, acknowledging that space in literature cannot simply be reduced to a backdrop for action (Hones, 2011).

Expansion of Narrative Space Concepts
Narrative theory has evolved to incorporate space not just as a backdrop, but as a dynamic and integral part of the narrative. Hones notes that the introduction of concepts like “chronotope” (Bakhtin) and the “spatial dimensions of narrative” in narrative theory are pushing for a more nuanced understanding of how space functions within a story (Hones, 2011).
Challenges in Interdisciplinary Collaboration
Hones addresses the gap between the precise categorizations found in narrative theory and the more flexible, process-oriented concepts in spatial theory. While narrative theory’s typologies are useful for analysis, they often impose a rigid view of space, which conflicts with geographical theory’s more fluid and relational understanding of space and place (Hones, 2011).
Potential of Combining Narrative Theory and Spatial Theory
The paper proposes that blending the analytical rigor of narrative theory with the expansive conceptual framework of spatial theory can result in a more sophisticated understanding of how literary space is created and experienced. This combination can offer deeper insights into how fiction’s geography is produced through the interaction of author, narrative voice, and reader (Hones, 2011).

Case Studies of Literary Texts
Hones illustrates her argument through three case studies: The Man in the High Castle (1962) by P.K. Dick, The Last American (1889) by J.A. Mitchell, and The Great Gatsby (1925) by F. Scott Fitzgerald. These texts highlight the complex ways in which narrative space is created and how reader positioning plays a crucial role in shaping that space. For instance, Dick’s novel uses minimal descriptive passages, relying on reader inference to build its alternative world, while The Great Gatsby reveals how an unreliable narrator complicates the notion of a fixed setting (Hones, 2011).
Conclusion: Shifting Definitions of Setting
Hones concludes that a new approach to setting and narrative space is needed, one that takes into account the multiple voices, times, and locations present in a narrative. By focusing on the processes through which fictional settings emerge, literary geography can move beyond static notions of space and explore its contingency and fluidity (Hones, 2011).

Theoretical Terms/Concepts in “Literary Geography: Setting And Narrative Space” by Sheila Hones

Theoretical Term/Concept	Definition	Explanation
Narrative Space	The “place or places within which the situations and events represented … and the narrating instance(s) occur” (Prince, 1987).	Narrative space is the space within a story where the events take place. Initially seen as a static background setting, it is now understood to be dynamic and integral to the narrative. Hones critiques the traditional view of space as just a container for action (Hones, 2011).
Chronotope	A concept from Bakhtin referring to the interconnectedness of time and space in narrative.	The chronotope refers to how space and time are fused within the narrative, creating particular “types” of spaces in the narrative structure, such as the “adventure” chronotope (Hones, 2011).
Possible-Worlds Theory	A theory used in narrative theory to describe the various worlds presented in a narrative that are distinct from the actual world.	This theory acknowledges that narratives may present alternative or fictional worlds that coexist with real-world spaces. The theory allows exploration of how these different “worlds” interact within the narrative (Hones, 2011).
Spatial Frames	The specific locations within a narrative that make up the “shifting scenes of action.”	Spatial frames are the identifiable settings within the narrative’s physical world, establishing the boundaries of the story’s geography (Ryan, 2010).
Story Space	The space relevant to the plot as mapped by the actions and thoughts of the characters.	Story space is the specific geographic area in which the narrative’s actions occur, shaped by the plot and the characters’ movements within it (Ryan, 2010).
Narrative Universe	The broader world encompassing the story’s actual and hypothetical elements, such as counterfactuals, beliefs, wishes, and speculative realities.	This concept expands beyond the story’s physical setting, including the worlds created by characters’ thoughts and the broader context in which the narrative takes place. It helps explain how narrative space can include imagined or possible worlds (Ryan, 2010).
Multiple Focalizations	The use of various narrative perspectives to tell the story from different points of view.	Hones discusses how authors use multiple focalizations to create different views of the same narrative space, enriching the depth and complexity of the space in which the story unfolds. It highlights the fluidity of space as experienced by different narrators (Hones, 2011).
Implied Reader	The conceptualized reader who is imagined by the narrator and embedded within the fictional world.	This reader exists within the world of the narrative, helping to co-create the spatial setting by interpreting the story from their own perspective (Hones, 2011).
Intradiegetic Narrator	A narrator who is part of the story world, participating in the events of the narrative.	An intradiegetic narrator shapes the narrative space by giving a subjective view from within the fictional world, influencing how readers perceive the story’s setting (Hones, 2011).
Text–Reader Dynamics	The interaction between the text’s narrative structure and the reader’s interpretation, shaping the narrative space.	This concept emphasizes the reader’s role in constructing the space of the narrative, reflecting on how readers co-create the geographical and social aspects of the story (Hones, 2011).
Metalepsis	A narrative technique where the boundary between different narrative levels is blurred, often bringing the narrator or reader into the narrative world.	Metalepsis allows for narrative space to become more fluid, breaking the boundaries between different levels of the narrative, such as the real world and the story world (Hones, 2011).

Contribution of “Literary Geography: Setting And Narrative Space” by Sheila Hones to Literary Theory/Theories

Narrative Theory and Space
Hones integrates narrative theory’s insights into space and place, suggesting that narrative space is not just a static container but a dynamic construct shaped by plot, character actions, and reader interactions. She emphasizes the importance of the “chronotope” (Bakhtin’s concept of time-space fusion) in understanding how space operates within narratives (Hones, 2011).

“Narrative theory has come to pay ‘greater attention … to the spatial dimensions of narrative'” (Bridgeman, 2007: 53).

Interdisciplinary Collaboration
Hones advocates for the collaboration between literary geography and narrative theory. She highlights the potential of narrative theory’s analytical specificity combined with the spatial stretch of geographic theory. This collaboration creates a more nuanced understanding of how narrative space is formed and understood within fiction (Hones, 2011).

“The main purpose of this paper is thus to consolidate and build on existing work in interdisciplinary literary geography” (Hones, 2011).

Expansion of Narrative Space
She contributes to the expansion of the concept of narrative space from a simple “setting” or container to a more complex, contingent space. The article challenges traditional definitions of space as static and suggests that narrative space is an active participant in shaping the story (Hones, 2011).

“Narrative theory has expanded its focus of interest from relatively simple frame settings to a wider range of narrative spatialities” (Hones, 2011).

Role of the Reader in Narrative Space
Hones discusses the reader’s active role in constructing the narrative space, arguing that the interaction between text and reader makes space contingent and variable. She incorporates the idea that readers contribute to the construction of the fictional geography through their cultural knowledge and real-world experiences (Hones, 2011).

“The narrative world is conceived by the imagination, which is to say by the reader, ‘as a coherent, unified, ontologically full and materially existing geographical entity'” (Ryan, 2010).

Chronotope and Temporal-Spatial Complexity
By discussing Bakhtin’s chronotope and applying it to the analysis of space, Hones helps push the boundaries of how space is conceptualized in narrative theory. The chronotope allows for understanding how space and time are not merely a backdrop but integral to the structure of the narrative (Hones, 2011).

“The chronotope fuses space and time, creating particular types of spaces within the narrative” (Hones, 2011).

Critical Examination of ‘Container Space’
Hones critiques the “container” model of space, which had dominated literary geography. She challenges the assumption that narrative space simply serves as a container for events and proposes that space can be much more fluid and integral to narrative construction.

“Space as a container frame … was limiting and no longer sufficient” (Hones, 2011).

Multiple Focalizations and Shifting Narrative Views
Hones highlights how the use of multiple focalizations in narrative can create different versions of space, complicating the reader’s experience of space within the story. She uses case studies such as The Man in the High Castle to demonstrate how shifting narrative perspectives affect the construction of space (Hones, 2011).

“The narrative is articulated through multiple, shifting narrative points of view and speakers” (Hones, 2011).

Integration of Narrative Voice and Setting
She underscores the inseparability of narrative voice from setting, arguing that narrative voice plays a key role in shaping the spatial context of the story. The narrative voice determines how readers perceive and interpret the setting and space within the fiction.

“Narrative voice is critical to the production of narrative geographies” (Hones, 2011).

Examples of Critiques Through “Literary Geography: Setting And Narrative Space” by Sheila Hones

Literary Work	Critique	Explanation
The Man in the High Castle by P.K. Dick	Minimal scene-setting description	Hones critiques the novel’s lack of explicit descriptive passages, arguing that it establishes its fictional geography not through traditional descriptions but by positioning the implied reader as an inhabitant of the fictional world. The absence of descriptions aids in the immersive construction of the alternative world.
	Multiple focalizations and voices	The narrative’s use of multiple focalizations and voices helps establish a complex, dynamic space. These shifting perspectives create a varied and layered sense of place within the fictional world, supporting the idea that space in the novel is contingent and constructed through multiple narrative techniques.
The Last American by J.A. Mitchell	Doubled textual geography	Hones highlights the novel’s use of a complex spatial structure, where the implied reader of the future is juxtaposed with a nineteenth-century American authorial audience. This creates a “doubled” geography that compels readers to engage with two unfamiliar worlds simultaneously: an imagined future and a historical past.
	Role of the narrator and reader positioning	The narrative style, which uses a first-person perspective from an admiral in the Persian navy, shifts the reader’s perception of space. The reader’s engagement with both the fictional world of the narrative and the historical context of the author complicates the reader’s understanding of the spatial setting, highlighting the interaction between authorial intent and reader interpretation.
The Great Gatsby by F. Scott Fitzgerald	Narrative space and unreliable narration	Hones critiques the assumption that The Great Gatsby‘s setting is simply New York in the 1920s. She argues that the narrative space is complex because of the unreliable first-person narrator, Nick Carraway, who recounts past events from his present in the Midwest. This layering of locations challenges the conventional understanding of setting and suggests a more fluid, multi-layered space.
	Simultaneity of locations	The novel’s narrative space operates in simultaneity, where multiple locations (New York, Louisville, the Midwest) co-exist within the same narrative moment. Hones emphasizes the complexity of the text’s geography, arguing that it cannot be confined to a single spatial frame but instead involves overlapping and interconnected locations.
The Last American by J.A. Mitchell	Critique of social and political geography	The novel critiques the decline of American society through a post-apocalyptic lens. Hones argues that the fictional geography of a destroyed America serves as social criticism, reflecting concerns about the loss of national identity and the impact of history on the physical and social landscape.
	Metatextual elements and dual settings	Hones examines how the text’s metatextual elements, such as the fictional editor and dedication pages, create an additional setting within the real world, contrasting the fictional future setting with the real-world production context. This dual setting complicates the reader’s understanding of the narrative’s spatial frame, merging fictional and real-world geographies.

Criticism Against “Literary Geography: Setting And Narrative Space” by Sheila Hones

Overemphasis on Theoretical Vocabulary
Critics argue that the reliance on narrative theory’s technical terms and categorizations may complicate the interdisciplinary approach and make it less accessible for geographers who are not familiar with literary theory. Some might feel that the emphasis on precision in narrative terminology overshadows the need for broader spatial concepts (Hones, 2011).

Lack of Engagement with Non-Western Literatures
Some critics might contend that Hones’ examples, such as those from P.K. Dick and F. Scott Fitzgerald, predominantly focus on Western texts and settings, which could limit the applicability of her theories in non-Western contexts. A more global perspective might broaden the scope of literary geography and offer richer, more diverse analyses.
Overcomplication of Setting and Space
While Hones emphasizes the complexity of narrative space, critics may argue that this overcomplication could lead to an unclear or convoluted understanding of how space functions in literature. Instead of making the concept more accessible, the multiple layers of analysis might obscure the fundamental idea of setting as a geographical space in which events unfold.
Insufficient Focus on Spatial Experience
Although Hones touches on the importance of spatial experience, some critics may argue that there is insufficient exploration of how actual spatial experiences (such as the reader’s perception of place or the geographical reality behind the fiction) influence the narrative. The focus remains largely theoretical, with limited engagement in real-world applications.

Limited Collaboration between Disciplines
Hones mentions the potential for cross-disciplinary collaboration between narrative theory and literary geography, but critics may argue that the actual integration of these two fields is still underdeveloped. The proposed interdisciplinary framework may be seen as too ambitious without clear pathways for practical collaboration between literary theorists and geographers.

Representative Quotations from “Literary Geography: Setting And Narrative Space” by Sheila Hones with Explanation

Quotation	Explanation
“The technical vocabulary developed within narrative theory has much to offer the literary geographer.” (Hones, 2011)	Hones emphasizes the value of narrative theory’s specialized terms in understanding the spatial dimensions of literature, suggesting that literary geographers can gain significant insights by incorporating narrative theory’s terminology.
“Narrative space was generally assumed by narratologists at the time to have ‘no other function than to supply a general background setting.'” (Hones, 2011)	This quotation reflects the traditional view in narrative theory, where narrative space was seen simply as a backdrop for action, rather than an active element of the story. Hones critiques this limiting view and calls for a more dynamic approach.
“Narrative theory has come to pay greater attention to the spatial dimensions of narrative.” (Bridgeman, 2007 in Hones, 2011)	Hones notes that narrative theory has evolved to recognize the significance of space within narratives, moving beyond its previous focus on time and action, thus opening up possibilities for interdisciplinary study.
“Literary geography has also started to develop lines of work that go beyond a simple association of narrative space with particular frame settings.” (Hones, 2011)	Hones highlights that literary geography is expanding to include more complex notions of narrative space, which are not limited to static settings but involve dynamic interactions between text and geography.
“Space in literature often meant ‘Balzac’s version of Paris, the Africa of colonial romances, Austen’s redrawing of Britain.'” (Hones, 2011)	This statement critiques the overly simplistic and Eurocentric focus of traditional literary geography, calling for a broader, more nuanced understanding of literary space that incorporates diverse contexts.
“Finding it increasingly ‘difficult to disentangle setting from what’s going on and who’s doing it.'” (Abbott, 2008 in Hones, 2011)	Hones references Abbott’s insight that setting cannot be viewed in isolation from the plot and character actions, arguing that narrative space should be understood as contingent and interconnected with narrative events.
“Narrative space can be identified as the (presumably singular) fictional environment within which ‘story-internal characters move about and live.'” (Buchholz & Jahn, 2005 in Hones, 2011)	Hones critiques the view that narrative space is a fixed environment, advocating for a more fluid and complex understanding of space as dynamic and shaped by the narrative itself.
“The potential for literary geography lies in taking up a position at the theoretical and methodological overlap and, from that position, developing lines of argument which are inhibited as little as possible by the disciplinary differences.” (Hones, 2011)	Hones stresses the importance of interdisciplinary collaboration between literary theory and geography, proposing that such an approach can lead to a more robust understanding of narrative space.
“A narrative space…is a co-production involving a range of voices and points of view as well as a range of projected and actual reader positions.” (Hones, 2011)	This quotation emphasizes the collaborative and multi-dimensional nature of narrative space, where different voices, reader perspectives, and narrative techniques come together to shape the space.
“Space as process, something mobile and unstable.” (Hones, 2011)	Hones advocates for a view of space as dynamic and ever-changing, rather than as a fixed container, arguing that spatial theory should reflect the fluidity of both space and narrative.

Suggested Readings: “Literary Geography: Setting And Narrative Space” by Sheila Hones

Hones, Sheila. “Literary geography: setting and narrative space.” Social & Cultural Geography 12.7 (2011): 685-699.

Hones, Sheila. “Literary Geography and the Short Story: Setting and Narrative Style.” Cultural Geographies, vol. 17, no. 4, 2010, pp. 473–85. JSTOR, http://www.jstor.org/stable/44251372. Accessed 24 Feb. 2025.
Werronen, Sheryl McDonald. “Setting the Scene: Geography and Space.” Popular Romance in Iceland: The Women, Worldviews, and Manuscript Witnesses of Nítíða Saga, Amsterdam University Press, 2016, pp. 89–124. JSTOR, https://doi.org/10.2307/j.ctv513cr4.8. Accessed 24 Feb. 2025.
Eigler, Friederike. “Narrative and Space.” Heimat, Space, Narrative: Toward a Transnational Approach to Flight and Expulsion, NED-New edition, Boydell & Brewer, 2014, pp. 31–50. JSTOR, http://www.jstor.org/stable/10.7722/j.ctt5vj7rh.6. Accessed 24 Feb. 2025.

“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.

“Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones: Summary and Critique

“Literary Geography and the Short Story: Setting and Narrative Style” by Sheila Hones first appeared in 2010 in Cultural Geographies, exploring the intersection of literary geography, narrative technique, and reader engagement in short fiction.

Introduction: “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

“Literary Geography and the Short Story: Setting and Narrative Style” by Sheila Hones first appeared in 2010 in Cultural Geographies, exploring the intersection of literary geography, narrative technique, and reader engagement in short fiction. The article challenges traditional geographic analyses that privilege the novel, arguing that short stories employ “generic settings” that, rather than serving as mere backdrops, actively shape thematic meaning. Through a comparative review of studies on Sherlock Holmes, Woman Hollering Creek, and Lovecraft’s horror fiction, Hones illustrates how short stories use fragmented, suggestive spatial cues that require participatory reading. She further analyzes Alice Walker’s Petunias, demonstrating how narrative compression intensifies spatial and historical connections. The piece underscores the short story’s ability to collapse time and space, making seemingly distant geographies and histories proximate. As Hones asserts, “the short story, simply by being short, facilitates the sharing of primary source material and the development of a more interactive, integrated and collaborative scholarly practice.” This perspective advances literary theory by emphasizing the collaborative production of meaning between text and reader, reinforcing the dynamic role of spatial representation in fiction.

Summary of “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

1. The Short Story and Literary Geography

Hones explores how short fiction interacts with spatial representation, challenging the assumption that short stories are “ageographical” due to their brevity and lack of extensive description (Hones, 2010, p. 473).

She builds upon Marc Brosseau’s claim that short stories rely on “generic settings” rather than “thick descriptions,” allowing these settings to function thematically rather than mimetically (p. 474).
The paper highlights how short stories require “participatory engagement” from readers, who must actively construct spatial meaning rather than passively receiving it (p. 473).

2. Comparative Review of Short Fiction Geographies

Hones examines three previous studies that focus on the spatial aspects of short stories:
- Yi-Fu Tuan’s analysis of Sherlock Holmes stories sees Victorian London as a complex, multi-dimensional setting that fuels the detective’s role as a master of navigation (p. 476).
- Mary Pat Brady’s reading of Woman Hollering Creek emphasizes the contested spaces of the US-Mexico border, arguing that Cisneros’s fragmented narratives reflect the instability of border identities (p. 477).
- James Kneale’s study of H.P. Lovecraft highlights “threshold spaces,” where horror emerges from gaps in knowledge and the limits of representation (p. 478).
These studies collectively illustrate how short fiction, though spatially condensed, can generate significant geographic meaning through both setting and narrative style.

3. The Role of Narrative Style in Spatial Representation

Hones differentiates between three narrative approaches:
- Closure-Oriented Narratives: Tuan’s reading of Sherlock Holmes suggests that the stories provide reassurance by restoring order and making London’s complexities manageable (p. 479).
- Multiplicity-Oriented Narratives: Brady’s analysis of Cisneros highlights how shifting narrative voices and fragmented storytelling contest dominant spatial narratives (p. 480).
- Indeterminacy-Oriented Narratives: Kneale’s study of Lovecraft reveals how horror fiction embraces the impossibility of fully representing space, leaving gaps for the reader to fill (p. 481).
She argues that short stories rely on an “interplay between setting and style,” where spatial meaning is not just described but actively produced through narrative techniques (p. 481).

4. Case Study: Alice Walker’s “Petunias”

Hones conducts a close reading of Alice Walker’s Petunias, a 166-word short story, to illustrate how spatial meaning is constructed through reader participation rather than explicit description (p. 482).
The story’s fragmented structure and shifting narrators create a “relational geography of agency and responsibility,” forcing readers to connect disparate events across time and space (p. 483).
Petunias links personal and historical geographies: the protagonist’s discovery of a slave’s remains in her garden, her son’s return from Vietnam, and the explosion at the end of the story all suggest intertwined histories of racial violence, war, and domestic space (p. 484).

Hones argues that the story “explodes” the reader’s expectations, requiring them to reconstruct its meaning by bridging its narrative gaps (p. 485).

5. The Short Story as a Collaborative Spatial Practice

Hones concludes that short stories, due to their brevity and narrative intensity, encourage “collaborative meaning-making” between the text and the reader (p. 485).

This participatory dynamic makes short fiction a valuable subject for literary geography, as it emphasizes the active role of spatial perception in narrative interpretation (p. 486).
She suggests that short stories should be viewed not just as literary representations of space but as “literary detonations,” capable of transforming reader understanding through compressed, intense storytelling (p. 487).

Conclusion: Literary Geography’s Expanding Scope

Hones challenges the assumption that novels are superior to short stories in spatial representation, demonstrating that short fiction’s brevity enhances its ability to create layered, dynamic geographies (p. 488).
By emphasizing “narrative compression, pattern, and intensity,” short stories require readers to construct spatial meaning actively rather than passively absorb it (p. 489).
Ultimately, she argues that literary geography should incorporate short fiction as a key area of study, as it offers “a unique and interactive model for exploring the relationship between narrative and space” (p. 490).

Key Quotations

On the participatory nature of short fiction: “For the story to happen, readers must contribute to the event not only a high level of participatory engagement but also a willingness to exercise a particular kind of spatial knowledge” (p. 473).
On generic settings in short stories: “Precisely because these settings are non-specific and easily recognizable, they are able to function thematically” (p. 474).

On Walker’s Petunias and spatial meaning: “It is geographically interesting because of the way in which it uses technical strategies such as structure, syntax, register, and narrative voice to afford a particular kind of spatial knowledge” (p. 482).
On the role of narrative gaps: “The short story, like Walker’s Petunias, might be productively understood not only as a form of literary representation but also as a form of literary detonation” (p. 487).

Theoretical Terms/Concepts in “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Theoretical Term/Concept	Explanation	Reference in Hones’ Article
Literary Geography	The study of how spatial elements function in literature, particularly how settings, landscapes, and spatial relationships shape narrative meaning.	“One of the major factors currently inhibiting the development of collaborative knowledge production in literary geography is the problem of unshared primary evidence” (p. 475).
Generic Setting	A type of setting in short fiction that is not overly detailed or specific, allowing it to function thematically rather than mimetically.	“Precisely because these settings are non-specific and easily recognizable, they are able to function thematically” (p. 474).
Narrative Space	The spatial dimensions of a text that influence how characters move, interact, and experience their environments.	“Geographical significance derives not only from setting, generic or otherwise, but also from details of narrative style” (p. 474).
Participatory Reading	The concept that short stories require active reader engagement to construct meaning, particularly in fragmented narratives.	“For the story to happen, readers must contribute to the event not only a high level of participatory engagement but also a willingness to exercise a particular kind of spatial knowledge” (p. 473).
Spatial Traps	The idea that characters in certain short stories, such as those by Charles Bukowski, are constrained by limiting spaces such as home, work, or the street.	“The defining frame for the narrative action, the spatial situation out of which fictional events emerge, is provided by the constraints of home, workplace, and street” (p. 474).
Thematic Setting	A type of setting that plays a structural role in shaping narrative events rather than merely serving as a backdrop.	“Tuan’s essay, for example, which deals with the Sherlock Holmes stories…identifies Victorian England, more specifically, the imperial metropolis and a contrasting English countryside, as the framing situation that drives narrative event” (p. 476).
Micro-Geographies of Narrative Style	The detailed ways in which narrative techniques, such as perspective shifts and fragmented storytelling, create spatial meaning.	“In its second half, the paper turns to the significance of narrative style in the short story as it relates to the important contribution of the reader in producing meaning” (p. 474).
Contrapuntal Geographies	A concept from Mary Pat Brady’s analysis of Cisneros, describing how different social groups experience the same physical space in conflicting ways.	“Brady argues that this multiplicity is what drives the stories: the urban American borderland threshold generates the fictional action because of the way in which it forces the dramatic juxtaposition of different (and contested) ways of inhabiting shared city locations” (p. 477).
Spatial Politics of Representation	The way in which power structures influence the perception, organization, and meaning of places in literature.	“How power adheres to those who produce narratives that sustain and naturalize places as opaque, natural, or fixed – and thus beyond contestation or negotiation” (p. 478).
Liminal Spaces (Thresholds)	Spaces of transition, ambiguity, or boundary-crossing, often used in horror fiction to create unease.	“Kneale emphasizes in his work on H.P. Lovecraft…the fantastic threshold spaces that exist within those larger, more matter-of-fact locations” (p. 478).
Narrative Closure vs. Openness	The degree to which a story provides a definitive resolution versus leaving gaps, uncertainties, or open-ended interpretations.	“For Tuan, the narrative produces closure; for Brady, the narrative enables multiplicity; while for Kneale, the narrative is always undead” (p. 479).
Text-Reader Interaction	The concept that the meaning of a story is co-produced by the text and the reader, particularly in fragmented or ambiguous narratives.	“Without the active contribution of an engaged reader, the story would remain in fragments: disconnected and made up of apparently random moments” (p. 483).
Spatial Compression	The condensation of complex spatial relationships within a very short text, often requiring intensive reader interpretation.	“Because it is so short and so densely written, its geographical significance emerges most forcefully in details of its narrative style” (p. 482).
Literary Detonation	The idea that short stories, through their compressed and fragmented structure, create an “explosive” effect in meaning-making, challenging conventional spatial and historical narratives.	“The short story, like Walker’s Petunias, might be productively understood not only as a form of literary representation but also as a form of literary detonation” (p. 487).

Contribution of “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones to Literary Theory/Theories

1. Literary Geography and Spatial Theory

Expands Literary Geography Beyond Novels
- Hones challenges the traditional focus on novels in literary geography, arguing that short stories also provide rich material for spatial analysis.
- “One of the major factors currently inhibiting the development of collaborative knowledge production in literary geography is the problem of unshared primary evidence” (p. 475).

Reconceptualizes the Role of Space in Short Fiction
- By emphasizing the “generic setting,” Hones shows that spatial representation in short stories is not always about detailed description but can work thematically.
- “Precisely because these settings are non-specific and easily recognizable, they are able to function thematically” (p. 474).

Introduces the Concept of Micro-Geographies in Narrative
- She shifts the focus from broad geographic settings to how spatial meaning is constructed through “narrative style and text-reader interaction.”
- “The paper turns to the significance of narrative style in the short story as it relates to the important contribution of the reader in producing meaning” (p. 474).

2. Reader-Response Theory

Emphasizes the Active Role of the Reader in Meaning-Making
- Hones argues that short stories require participatory reading, where spatial meaning is co-created by the reader rather than fully provided by the text.
- “For the story to happen, readers must contribute to the event not only a high level of participatory engagement but also a willingness to exercise a particular kind of spatial knowledge” (p. 473).
Links Reader-Response Theory to Spatial Theory
- The study connects Wolfgang Iser’s and Stanley Fish’s ideas on reader interpretation with the spatial aspects of narrative structure.
- “Without the active contribution of an engaged reader, the story would remain in fragments: disconnected and made up of apparently random moments” (p. 483).

3. Postmodern Narrative Theory

Challenges Traditional Notions of Setting and Representation
- Hones builds on postmodern critiques of stable meaning by showing that short fiction often disrupts conventional spatial representation.
- “The highly-compressed narrative of a short story, as it strains to express the inexpressible, may serve to complicate the association of fiction with simple representation” (p. 474).
Explores Fragmentation and Multiplicity in Short Stories
- She aligns with postmodernist views that narratives should be seen as fragmented, open-ended, and constructed through reader interaction.
- “Brady’s position on the stories in Woman Hollering Creek…is that they provide the reader with a productively disjointed narrative of multiplicity” (p. 480).

4. Postcolonial and Border Studies Theory

Applies Postcolonial Perspectives to Space in Literature
- Hones integrates postcolonial concepts of contested space by analyzing Mary Pat Brady’s Contrapuntal Geographies in Woman Hollering Creek.
- “Brady argues that the urban American borderland threshold generates the fictional action because of the way in which it forces the dramatic juxtaposition of different (and contested) ways of inhabiting shared city locations” (p. 477).

Examines the Power Dynamics of Spatial Representation
- Her discussion of spatial traps and thematic settings aligns with postcolonial critiques of how power structures define spatial meaning.
- “How power adheres to those who produce narratives that sustain and naturalize places as opaque, natural, or fixed – and thus beyond contestation or negotiation” (p. 478).

5. Horror and Gothic Studies

Explores Threshold Spaces and the Limits of Representation
- By analyzing Lovecraft’s horror fiction, Hones connects literary geography with Gothic Studies’ focus on liminal spaces and the uncanny.
- “Kneale’s work on H.P. Lovecraft…highlights the fantastic threshold spaces that exist within those larger, more matter-of-fact locations” (p. 478).
Investigates How Horror Fiction Disrupts Spatial Certainty
- She aligns with theories of the Gothic that emphasize uncertainty, arguing that Lovecraft’s horror emerges from an inability to fully represent space.
- “Lovecraft’s ‘thingless names and nameless things mark the limits of representation and imagination’” (p. 481).

6. Short Story Theory

Advances Theories on the Compressed Narrative Form
- Hones draws on Charles May’s The New Short Story Theories to argue that short fiction’s brevity enhances its ability to create layered geographies.
- “Short stories tend more toward the archetypal in character and setting than the novel, but they are also ‘more patterned and aesthetically unified’” (p. 489).
Introduces the Concept of Literary Detonation
- She proposes that short stories, rather than simply representing space, “explode” meaning through fragmentation and reader engagement.
- “The short story, like Walker’s Petunias, might be productively understood not only as a form of literary representation but also as a form of literary detonation” (p. 487).

7. Feminist and Intersectional Literary Criticism

Analyzes Gender and Space in Short Fiction
- By focusing on Alice Walker’s Petunias, Hones highlights how spatial constraints in fiction reflect broader social and historical struggles.
- “Walker’s short story articulates a complex relational geography in its narrative style and in the demands it places on its readers” (p. 482).

Challenges Traditional Gendered Notions of Place
- She aligns with feminist geographers who critique how space is often gendered in both real-world and literary contexts.
- “The struggle between social structure and individual agency is an important theme in Petunias, and it remains unresolved at its conclusion” (p. 483).

Conclusion: Expanding Literary Geography and Narrative Theory

Hones’ article bridges multiple literary theories by emphasizing the spatial, participatory, and fragmented nature of short fiction.
She challenges the dominance of the novel in literary geography, arguing that short stories, due to their compression and reader involvement, offer unique insights into space and narrative meaning (p. 490).

By integrating literary geography with reader-response theory, postmodernism, postcolonialism, and feminist criticism, her work opens new interdisciplinary pathways for analyzing short fiction.

Examples of Critiques Through “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Literary Work & Author	Critique Through Hones’ Framework	Reference in Hones’ Article
Sherlock Holmes Stories – Arthur Conan Doyle	– Hones, through Yi-Fu Tuan’s analysis, argues that Sherlock Holmes stories depict Victorian London as a complex, multi-layered city. – The city itself generates mystery and disorder, requiring Holmes’ rational mastery of urban geography. – The narrative reinforces the tension between the imperial metropolis and its underlying social chaos.	“The Holmes stories take place in an unpredictably multi-dimensional London ‘grown unmanageably large and complex,’ full of ‘seething unsassimilable elements that might erupt in violence’” (p. 476).
Woman Hollering Creek and Other Stories – Sandra Cisneros	– Hones references Mary Pat Brady’s Contrapuntal Geographies to analyze how Cisneros presents contested borderland spaces. – Different characters experience the same urban setting in conflicting ways, reflecting class, gender, and racial divides. – Shifting narrative perspectives and code-switching reinforce the idea of place as multiple and contested rather than fixed.	“Brady argues that the urban American borderland threshold generates the fictional action because of the way in which it forces the dramatic juxtaposition of different (and contested) ways of inhabiting shared city locations” (p. 477).
Horror Stories – H.P. Lovecraft	– Hones, using James Kneale’s study, interprets Lovecraft’s horror fiction as deeply rooted in threshold spaces—zones between reality and the impossible. – Lovecraft’s narratives emphasize spatial instability, where characters fail to control or comprehend the worlds they encounter. – The horror arises from nameless and indescribable places, challenging the limits of linguistic representation.	“Kneale emphasizes in his work on H.P. Lovecraft…the fantastic threshold spaces that exist within those larger, more matter-of-fact locations” (p. 478).
Petunias – Alice Walker	– Hones performs a close reading of Walker’s microfiction, revealing how it constructs relational geography through fragmented narrative style. – The story collapses historical distances by linking the geographies of slavery, civil rights struggles, and war. – By requiring readers to actively reconstruct spatial and historical connections, Petunias exemplifies participatory reading.	“Walker’s short story articulates a complex relational geography in its narrative style and in the demands it places on its readers” (p. 482).

Criticism Against “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

1. Overemphasis on Reader Engagement Without Empirical Support

Hones places significant emphasis on reader participation in meaning-making but does not provide empirical studies or reader-response data to support this claim.

The argument that “for the story to happen, readers must contribute to the event with a high level of participatory engagement” (p. 473) is intriguing but assumes a universal mode of reading rather than acknowledging variations in reader interaction.

2. Limited Scope in Defining Literary Geography

The article primarily focuses on short stories, which are an exceptional rather than typical literary form in literary geography.

Novels, poetry, and plays are largely absent from her discussion, despite their significant role in geographic and spatial studies of literature.
By arguing that the short story’s brevity “offers practical benefits for collaborative practice in literary geography” (p. 475), she sidelines the novel’s potential contributions to the field.

3. Lack of Engagement With Alternative Spatial Theories

Hones draws primarily from literary geography but does not significantly engage with postmodern spatial theorists like Michel Foucault (heterotopias), Edward Soja (Thirdspace), or Henri Lefebvre (The Production of Space).
While she discusses thematic settings and spatial traps, she does not integrate broader spatial theories that could deepen her analysis.
Her approach remains focused on literary studies rather than fully interdisciplinary.

4. Overgeneralization of the Short Story’s Spatial Impact

While Hones argues that short fiction uniquely enables participatory spatial analysis, this could be seen as an overgeneralization.
She states that “the short story’s characteristic compression and intensity enable the geographical analysis of narrative technique and reader engagement” (p. 475), yet many short stories function with explicit, rather than ambiguous, spatial settings (e.g., Chekhov, Hemingway).

Not all short fiction is as fragmented or open-ended as Petunias, which she uses as her primary case study.

5. Lack of Consideration for Non-Western Literary Geographies

The study primarily engages with Western and English-language literary works (Conan Doyle, Cisneros, Lovecraft, Walker).

There is no discussion of how literary geography functions in non-Western short fiction traditions—for instance, African, South Asian, or Latin American narratives, which often have different relationships with space, setting, and reader interaction.
This Western-centric perspective limits the universality of her claims.

6. Possible Overinterpretation of Texts Through Spatial Lenses

While her approach offers a fresh reading of texts, there is a risk of overinterpreting spatial elements in stories where geography may not be central.
For example, Sherlock Holmes stories might prioritize rational deduction over urban complexity, and Lovecraft’s horror may focus more on existential terror than threshold spaces.
By insisting on spatial readings, Hones may force a geographic lens onto narratives that function through other dominant themes.

7. Absence of Methodological Framework for Literary Geography

The article lacks a clearly defined methodology for applying literary geography to short fiction.
She draws from various literary theorists but does not outline a systematic approach that future scholars can apply to different texts.

This lack of methodological clarity makes it difficult to replicate or test her claims in other literary contexts.

8. Heavy Reliance on Secondary Sources Rather Than Primary Analysis

Much of Hones’ argumentation is derived from secondary sources (Brosseau, Brady, Kneale, Tuan) rather than her own close readings.

While she discusses Petunias, most of her insights about literary geography come from existing scholarship rather than direct textual analysis.
This makes her work more of a literature review rather than an original theoretical framework.

Conclusion: Strengths and Weaknesses in Context

While “Literary Geography and the Short Story: Setting and Narrative Style” contributes to literary theory by integrating spatial analysis into short fiction studies, it has some notable limitations. The overemphasis on reader engagement, limited methodological clarity, Western-centric focus, and overinterpretation of space are key areas of critique. However, its strengths in highlighting the role of geography in narrative structure ensure its continued relevance in interdisciplinary literary studies.

Representative Quotations from “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones with Explanation

Quotation	Explanation
1. “For the story to happen, readers must contribute to the event not only a high level of participatory engagement but also a willingness to exercise a particular kind of spatial knowledge.” (p. 473)	Hones argues that reading is an active, spatial practice. The short story’s setting and narrative style require readers to construct meaning through their spatial awareness.
2. “One of the major factors currently inhibiting the development of collaborative knowledge production in literary geography is the problem of unshared primary evidence.” (p. 474)	The difficulty in literary geography is the lack of shared texts among scholars, making interpretation and analysis inconsistent across different researchers.
3. “The short story offers literary geography a strongly practical benefit simply by virtue of being short.” (p. 475)	Because short stories are read in a single sitting, they provide an ideal format for examining spatial narratives and engaging in literary geography studies.
4. “Geographical significance derives not only from setting, generic or otherwise, but also from details of narrative style.” (p. 474)	This highlights the importance of form and narration in creating spatial meaning, rather than just focusing on location descriptions.
5. “Bukowski’s short stories create spatial traps, where characters are confined within repetitive cycles of home, workplace, and street.” (p. 476)	Hones uses Bukowski’s stories as examples of spatial determinism, where setting functions as a constraint on characters’ lives.
6. “Short stories, as they strain to express the inexpressible, complicate the association of fiction with simple representation.” (p. 473)	She challenges the notion that fiction merely mirrors reality, suggesting that short stories resist straightforward representation and demand interpretative engagement.
7. “Narrative technique and reader engagement are central to the geographical analysis of short fiction.” (p. 475)	Hones links geography with narrative form, arguing that spatial significance is shaped by how stories are told and how readers interact with them.
8. “Holmes’s knowledge of the byways of London was extraordinary … he relies on his ability to pass ‘rapidly and with an assured step’ through a network of mews and stables the very existence of which I had never known.” (p. 477, quoting Tuan)	She uses this quote from Tuan to emphasize that Sherlock Holmes’ detective work is deeply spatial, relying on a mastery of urban geography.
9. “Alice Walker’s ‘Petunias’ articulates a complex relational geography in its narrative style and in the demands it places on its readers.” (p. 479)	Hones argues that Walker’s story requires the reader to piece together spatial connections, reinforcing the interactive nature of literary geography.
10. “The short story, like Walker’s ‘Petunias’, might be productively understood not only as a form of literary representation but also as a form of literary detonation.” (p. 484)	This metaphor suggests that short stories function as explosive forms, revealing hidden spatial and social structures through their compressed narratives.

“Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova: Summary and Critique

“Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova first appeared in College Literature, Volume 44, Number 4, in Fall 2017.

Introduction: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

“Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova first appeared in College Literature, Volume 44, Number 4, in Fall 2017. In this article, Ivanchikova explores the intersection of geography, literature, and pedagogy, emphasizing the significance of creative mapping assignments in the humanities classroom. The article argues for the utility of literary maps—hand-drawn, qualitative maps—as tools for deepening students’ understanding of narrative spaces, challenging traditional, positivist views of cartography. Ivanchikova’s key ideas include the distinction between positivist, allegorical, and analytical maps, highlighting how these different approaches can enhance literary analysis by fostering critical thinking about space, place, and cultural representation. The creative map assignments, as demonstrated in Ivanchikova’s own teaching practice, encourage students to engage more intimately with texts by mapping characters’ journeys and the symbolic significance of locations within the narrative. By incorporating geographic knowledge and visual analysis, the assignment not only enriches students’ comprehension of literary works but also provides them with a hands-on method to question the ideological nature of maps themselves, thus making them active participants in shaping and interpreting spatial narratives (Ivanchikova, 2017). The article underscores the importance of this pedagogical approach in literary studies, offering a valuable alternative to the purely quantitative methods often employed in geography and emphasizing the need for qualitative, interpretive techniques in understanding literary space.

Summary of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Introduction to Literary Geographies
- The article explores how creative mapping assignments can enhance students’ understanding of literature through geographical visualization. Ivanchikova discusses how literary geography integrates spatial theory into literature pedagogy (Ivanchikova, 2017, p. 675). The use of maps in literature goes beyond mere representation of physical locations, providing insight into the relationship between narrative and landscape (Ivanchikova, 2017, p. 676).

The Concept of Literary Maps
- Literary maps represent more than just geographical data; they embody the ideological and rhetorical nature of maps. Maps are often cultural and subjective, reflecting the worldview of their creators (Ivanchikova, 2017, p. 677). Ivanchikova argues that qualitative, hand-drawn maps are valuable pedagogical tools in literary studies, offering a contrast to the more technical, quantitative methods of mapping (Ivanchikova, 2017, p. 678).
Classroom Integration of Creative Mapping
- Ivanchikova shares her experience incorporating creative maps in a world literature course. She uses mapping assignments to explore how geography influences literature, focusing on regions like Alaska, Ghana, and Afghanistan. These maps helped students gain a deeper understanding of the cultural and spatial context of the stories they read (Ivanchikova, 2017, p. 680). Maps serve as a tool to grapple with geographical features and their symbolic meanings in literature (Ivanchikova, 2017, p. 681).
The Role of Maps in Revealing Ideology
- Maps, often perceived as objective, are shown to carry ideological messages. Students were encouraged to think critically about the maps they created, questioning the objectivity of “real-time” digital maps and understanding them as rhetorical devices (Ivanchikova, 2017, p. 682). This was demonstrated in the assignment to map the journey of Christopher McCandless in Into the Wild, where students realized that maps are not neutral but can reinforce national and cultural narratives (Ivanchikova, 2017, p. 683).

Types of Student-Generated Maps
- Three categories of maps emerged from the assignments: positivist, allegorical, and analytical. Positivist maps aimed for accuracy, allegorical maps used symbols and distortions to convey meaning, and analytical maps analyzed patterns and spatial relationships (Ivanchikova, 2017, p. 685). Students transitioned from merely mapping journeys to interpreting literary space as a means of understanding narrative themes (Ivanchikova, 2017, p. 686).
Shifting from Space to Place
- The assignment allowed students to move from an abstract concept of space to a more meaningful understanding of place. The allegorical maps created by students captured the emotional and symbolic significance of locations, reflecting the subjective experience of the characters (Ivanchikova, 2017, p. 687). This shift in mapping style was tied to a broader understanding of literature as a humanistic study that imbues places with meaning (Ivanchikova, 2017, p. 688).
Analyzing Cultural Patterns through Maps
- In the second part of the course, students used maps to analyze cultural patterns, such as migration in No Sweetness Here by Ama Ata Aidoo. These maps not only depicted movement but also reflected students’ interpretations of cultural shifts and the tensions between tradition and modernity (Ivanchikova, 2017, p. 692). Analytical mapping helped students connect literary geography with broader cultural and social changes (Ivanchikova, 2017, p. 693).

Comparative Mapping and Student Growth
- In the final module, students compared the spatial dimensions of The Kite Runner and A Thousand Splendid Suns by Khaled Hosseini, observing the contrasts between masculine, expansive spaces and feminine, constricted spaces. This exercise illustrated how maps could reveal deeper narrative structures and themes (Ivanchikova, 2017, p. 698).
Evaluation of the Creative Map Assignment
- The creative map assignment was well-received by students, with most rating it highly for its effectiveness in engaging their imagination and helping them contextualize the stories. The assignment fostered an environment of creativity and critical thinking, allowing students to experiment without fear of failure due to the pass/fail grading structure (Ivanchikova, 2017, p. 700).
Conclusion and Pedagogical Value
- Ivanchikova concludes that creative map assignments serve as powerful pedagogical tools, enabling students to visualize, interpret, and analyze the spatial dimensions of literary texts. By engaging with maps, students develop a more nuanced understanding of literature, seeing narrative as a complex spatial construction (Ivanchikova, 2017, p. 702).

Theoretical Terms/Concepts in “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Theoretical Term/Concept	Definition	Explanation	Reference
Literary Geography	The study of how space and geography influence literary texts.	Literary geography explores the relationship between narrative and landscape, focusing on the affective and ideological significance of geographical locations in literature.	Ivanchikova, 2017, p. 676
Spatial Turn	A shift in the humanities towards the study of space in relation to literature.	This theoretical shift incorporates geospatial technologies and spatial analysis into literary studies, acknowledging space as a central element in understanding narratives.	Ivanchikova, 2017, p. 677
Geocriticism	A field of literary theory that combines geography and literary analysis.	Geocriticism uses maps and space to analyze texts, emphasizing the interaction between the literary world and real-world geography.	Ivanchikova, 2017, p. 677
Immappancy	The lack of geographical knowledge or the failure to understand the ideological implications of maps.	This term refers to both the physical ignorance of geographical knowledge and the failure to recognize the rhetorical nature of maps.	Arnold, NeCamp, & Sohan, 2015, p. 679
Positivist Mapping	A mapping approach that emphasizes accuracy and objective representation of geographical locations.	This approach treats maps as literal, objective tools that focus on precision and factual data, often neglecting the subjective or symbolic elements of place.	Ivanchikova, 2017, p. 684
Allegorical Mapping	A creative mapping style that incorporates symbols, distortions, and subjective elements.	Allegorical maps convey deeper meanings related to the emotional or symbolic significance of locations within the narrative, often distorting spatial reality to reflect the narrative’s themes.	Ivanchikova, 2017, p. 685
Analytical Mapping	A type of map that identifies patterns or trends in literary spaces.	Analytical maps move beyond mere representation, analyzing spatial relationships, recurring patterns, and cultural shifts, often aiming to uncover causal connections or thematic patterns.	Ivanchikova, 2017, p. 692
Space vs. Place	The distinction between abstract, measurable space and the subjective, inhabited concept of place.	According to Yi-Fu Tuan, space is abstract and generalized, whereas place is imbued with meaning and personal significance, often central to humanistic inquiry in literature.	Ivanchikova, 2017, p. 686
Map Rhetoricity	The idea that maps, while seemingly objective, are rhetorical devices that convey ideological messages.	This concept, rooted in J.B. Harley’s work, suggests that all maps are subjective and shaped by the perspectives and interests of their creators, revealing more than just geographical data.	Harley, 1992, p. 682
Cartographic Agency	The power of mapmakers to shape and influence how spaces are represented and interpreted.	This concept focuses on how students, as mapmakers, bring their own perspectives and creative interpretations to the mapping process, affecting the way space is understood in literary studies.	Ivanchikova, 2017, p. 701

Contribution of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova to Literary Theory/Theories

Contribution to Geocriticism
- Ivanchikova’s work emphasizes the importance of geocriticism in literary studies, particularly by showing how maps and geography interact with narrative structures. She integrates space and place as essential elements for understanding literary texts, drawing on Bertrand Westphal’s concept of geocriticism (Ivanchikova, 2017, p. 677).
- Reference: Ivanchikova (2017) mentions “Geocriticism” as a framework that focuses on understanding the interaction between geography and literature, using mapping as a key analytical tool (Ivanchikova, 2017, p. 677).

Contribution to the Spatial Turn in Literary Studies
- Ivanchikova contributes to the spatial turn in literary theory by incorporating spatial analysis and geography into literary studies, responding to the shift towards integrating space into the analysis of narratives. She acknowledges that geospatial technologies like GIS and GPS have shaped contemporary understandings of space, which she then integrates into the literary classroom (Ivanchikova, 2017, p. 677).
- Reference: “The spatial turn in literary studies… was precipitated by, among other things, the rapid development of new geospatial technologies” (Ivanchikova, 2017, p. 677).

Contributions to the Debate on Quantitative vs. Qualitative Approaches
- Ivanchikova’s article contrasts the positivist approach to maps (focusing on objectivity and accuracy) with more subjective, allegorical mapping practices that align with literary analysis. This highlights the tension between quantitative mapping methods, such as GIS, and qualitative, subjective methods, which reflect the interpretive nature of literary studies (Ivanchikova, 2017, p. 679-684).
- Reference: Ivanchikova critiques the scientific, data-driven approach of GIS as insufficient for capturing the figurative and affective nature of space in literature (Ivanchikova, 2017, p. 679).

Contribution to the Ideology of Maps
- Drawing from J.B. Harley’s theory of map rhetoricity, Ivanchikova discusses how maps are not neutral but are imbued with ideological meanings that influence our understanding of space. This theoretical insight underscores the role of maps in shaping narratives and cultural representations (Ivanchikova, 2017, p. 682).
- Reference: Ivanchikova states, “Nothing on a map is reality, everything is representation and thus open to the sort of exegetic and interpretative analysis that characterizes the humanities” (Ivanchikova, 2017, p. 682).

Contribution to Literary Geography as a Pedagogical Tool
- Ivanchikova proposes the use of literary geography and creative mapping as effective pedagogical tools in literature classes, allowing students to engage with texts in a spatial manner. She shows how this method encourages students to think critically about the cultural, historical, and emotional significance of geographic locations in literary works (Ivanchikova, 2017, p. 680).
- Reference: “Maps are central to any geographical endeavor… [and] maps are imbued with the assumption of scientific objectivity, yet they are profoundly cultural and ideological products as well” (Ivanchikova, 2017, p. 680).

Contribution to the Understanding of Space vs. Place in Literary Contexts
- By using Yi-Fu Tuan’s distinction between space and place, Ivanchikova challenges students to think about how literary texts construct meaning through space. She emphasizes that while space is abstract and scientific, place is imbued with personal and cultural significance, making it a more appropriate concept for literary analysis (Ivanchikova, 2017, p. 686).
- Reference: Ivanchikova refers to Tuan’s view that “place (rather than space) should be the proper object of a humanistic inquiry, since it is always a site imbued with meaning” (Ivanchikova, 2017, p. 686).

Examples of Critiques Through “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Literary Work	Mapping Critique	Explanation of Critique	Reference
Into the Wild by Jon Krakauer	Positivist Maps	Students used Google Maps to trace the protagonist’s journey, revealing the disparity between national and continental maps. The critique highlights how maps can misrepresent geographical distance and the cultural perception of space (Alaska’s size and isolation).	“The national maps… greatly distort the scale of Alaska” (Ivanchikova, 2017, p. 682).
Qayaq: The Magical Man by Ticasuk	Allegorical Maps	Students created non-literal maps due to the lack of named locations. They used symbolic representations of places based on their function in the protagonist’s spiritual journey, highlighting the importance of narrative terrain in Native stories.	“Students… resolved the issue by drawing their own maps… based on the function of locations in the protagonist’s journey” (Ivanchikova, 2017, p. 692).
Ordinary Wolves by Seth Kantner	Analytical Maps	The maps sought to capture the spatial patterns of movement in the novel. Students mapped the emotional and physical journeys of the protagonist, visualizing the psychological and geographical divisions in the landscape.	“The shift from description to analysis… capturing spatial variation, density, and repetition” (Ivanchikova, 2017, p. 695).
A Thousand Splendid Suns by Khaled Hosseini	Comparative Maps	Students created side-by-side maps comparing the spatial trajectories in The Kite Runner and A Thousand Splendid Suns. They contrasted the expansive, open space in The Kite Runner with the enclosed, repetitive spaces of A Thousand Splendid Suns, reflecting the gendered and cultural limitations of the characters.	“The narrative arc of A Thousand Splendid Suns unfolds in a closed, circular spatiality that exemplifies female entrapment” (Ivanchikova, 2017, p. 698).

Criticism Against “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Over-reliance on Visual Representation: The focus on mapping might be critiqued for relying too heavily on visual representation, which could limit the depth of textual analysis. This approach may encourage students to prioritize surface-level mapping over more nuanced literary interpretation.
Simplification of Literary Complexities: Critics could argue that mapping assignments simplify the complexities of literary landscapes by attempting to reduce them to geographic coordinates, potentially neglecting the symbolic, metaphorical, and psychological dimensions of space in literature.
Lack of Rigor in Spatial Theory Application: Some critics might claim that the assignment’s use of spatial theory and geography is not always rigorously applied. The mapping process may not always integrate deeply with the theoretical texts (e.g., Tuan’s “Space and Place”) or might gloss over the more intricate aspects of geocriticism.

Potential for Overshadowing Literary Content: The emphasis on mapping could overshadow the primary literary content, causing students to focus more on geographical accuracy or creativity rather than engaging with the text’s themes, characters, and broader cultural contexts.
Student Dependence on Digital Tools: There might be a critique that digital tools like Google Maps and online mapping software may contribute to a mechanized understanding of space, which could discourage students from exploring other forms of creative, hand-drawn cartography or more nuanced, personal interpretations of space.
Limited Scope of Literary Works: The approach may be critiqued for primarily focusing on specific literary genres or works that lend themselves well to spatial analysis, possibly overlooking genres or texts where geography and mapping are less integral to the narrative.

Missed Intersection with Social and Political Contexts: Critics may argue that the mapping approach in the paper doesn’t fully address the social and political implications of maps and space in literature, such as the colonial or imperialistic history of mapping, which is central to the criticism of traditional cartography.
Lack of Clear Pedagogical Framework: Some might argue that while the paper demonstrates the utility of creative mapping in the classroom, it lacks a clear, structured pedagogical framework that would guide instructors in how to best implement the assignments across various literary texts and contexts.

Representative Quotations from “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova with Explanation

Quotation	Explanation
“Maps are too important to be left to cartographers alone.” — J.B. Harley, “Deconstructing the Map”	This quote emphasizes that maps are not neutral or purely scientific tools; they are deeply embedded in cultural, political, and ideological contexts, and should be critically examined, especially in literature.
“Literary mapping bears witness to the world that precludes quantification by testifying to the interconnectedness of narrative and landscape.”	Ivanchikova suggests that literary maps are not about numerical or objective data but about representing how narratives and places interact, often in symbolic or subjective ways.
“Maps can be used in the service of power or resistance, can serve as orientation devices, or can purposely confuse and disorient the viewer.”	This reflects how maps in literature, as in real life, can manipulate perspectives, shape ideologies, or create disorientation, aligning with their power dynamics.
“Students must grapple more deeply with a text from another culture by grounding their inquiry in a specific landscape through investigating and mapping its locations.”	The process of mapping enables students to better understand and immerse themselves in the cultural and geographical contexts of literary works from different regions.
“Geography-as-science with its emphasis on accuracy and scientific ‘truth’ and the study of literature with its emphasis on the subjective, the figurative, and the intangible.”	Ivanchikova points to the tension between scientific cartography, which prioritizes precision, and literary space, which allows for more abstract and interpretive exploration.
“The assignment is structured as an open-ended creative undertaking: students had complete freedom in how they approached this task.”	This statement highlights the flexibility and creativity involved in the mapping assignment, which is meant to encourage students to explore literary spaces freely and innovatively.
“Maps that students regard as truth statements are in fact political statements, exemplifying Harley’s notion of maps as performative, rather than descriptive, utterances.”	Ivanchikova argues that maps, often seen as neutral or objective, are inherently political and performative tools that can reflect ideological stances or bias.
“Maps are profoundly cultural and ideological products as well.”	This reinforces the notion that maps are not just neutral representations of physical space, but also reflect the beliefs, values, and politics of their creators.
“The map is the linchpin” — Susan Schulten	This quotation highlights the centrality of maps in understanding the relationship between geography and the humanities, especially in the context of literary studies.
“Students’ shift from descriptive to analytical mapping resembles the historical transition from topographic to thematic maps.”	Ivanchikova compares students’ evolving map-making practices to historical shifts in cartography, from simply representing space to analyzing and interpreting spatial patterns and meanings.

“Geography is Everywhere in Children’s Literature” by Pat Oden: Summary and Critique

“Geography is Everywhere in Children’s Literature” by Pat Oden first appeared in Journal of Geography in 1992 (Oden, 1992).

Introduction: “Geography is Everywhere in Children’s Literature” by Pat Oden

“Geography is Everywhere in Children’s Literature” by Pat Oden first appeared in Journal of Geography in 1992. The article explores the integral role of geographic themes in children’s books, arguing that literature naturally introduces young readers to concepts of place, movement, and human-environment interaction. Oden emphasizes that children’s literature can be a powerful tool to integrate geography into early education without requiring curriculum changes or new materials, stating that “books that are already in place in the classroom and library can be looked at anew from a geographic perspective” (Oden, 1992, p. 152). The article illustrates how books like The Desert is Theirs by Baylor (1975) and Paddle to the Sea by Holling (1941) convey rich geographical imagery and themes, making geography accessible and engaging for children. By applying the five fundamental themes of geography—location, place, human-environment interaction, movement, and regions—teachers can foster a deeper understanding of the world in young learners. Furthermore, Oden highlights the importance of visualization and activities, such as mapping exercises and thematic discussions, to reinforce geographic concepts in literature. The article contributes significantly to literary theory by demonstrating how geography extends beyond factual knowledge and shapes narratives, settings, and cultural contexts in storytelling. This perspective underscores the interdisciplinary nature of children’s literature, bridging literary appreciation with spatial awareness and environmental consciousness (Oden, 1992).

Summary of “Geography is Everywhere in Children’s Literature” by Pat Oden

Geography and Children’s Literature: A Natural Combination

Oden argues that geography is inherently present in children’s literature, either through depictions of real places or the interactions between people and their environments.

By highlighting these geographic aspects in books, children gain a better understanding of the world while simultaneously improving their reading skills (Oden, 1992, p. 151).

Using Literature to Teach Geography

Geography can be seamlessly integrated into elementary education through books that contain geographic imagery and themes.

Oden suggests that “curriculum does not have to be rewritten; textbooks and new materials do not have to be purchased” (Oden, 1992, p. 151).
Teachers can utilize existing books to emphasize geographic concepts without altering lesson plans.

Criteria for Determining a Book’s Geographic Merit

A book must first be good literature—engaging, well-written, and able to enhance a child’s knowledge.
It should also convey at least one of the five fundamental themes of geography: location, place, human-environment interaction, movement, and regions (Oden, 1992, p. 152).

Examples of Geographic Themes in Children’s Books

Location: I Go With My Family to Grandma’s (Levinson, 1986) illustrates absolute locations through the depiction of New York City’s boroughs.
Human-Environment Interaction: Shaker Lane (Provensen, 1986) demonstrates environmental changes due to human actions when a dam floods a community.
Movement: Jafta: The Journey (Lewin, 1983) follows a South African boy’s journey using multiple modes of transportation (Oden, 1992, p. 153).

Place: Heidi (Spyri, 1945) immerses readers in the Swiss Alps, while Dogsong (Paulsen, 1985) vividly portrays life in the far north of North America (Oden, 1992, p. 154).

Mapping Activities and Teaching Strategies

Teachers can guide discussions to direct students’ focus on geographic themes.

Simple questions like “What does the land look like?” help children engage with the geographic aspects of stories (Oden, 1992, p. 155).
Mapping exercises allow children to track a character’s journey, reinforcing comprehension and spatial awareness (Oden, 1992, p. 156).

Environmental Awareness Through Literature

Books such as Brother Eagle, Sister Sky (Jeffers, 1991) and The Great Kapok Tree (Cherry, 1990) emphasize the impact of human actions on the environment.
Oden suggests having students design communities that incorporate sustainable development principles, reinforcing the importance of human-environment interaction (Oden, 1992, p. 157).

Conclusion: Literature as a Gateway to Geographic Learning

Children’s books serve as valuable tools for teaching geography, connecting literature to real-world geographic understanding.
By integrating books with structured discussions and activities, teachers can enhance students’ appreciation of geography while strengthening literacy skills (Oden, 1992, p. 158).

Theoretical Terms/Concepts in “Geography is Everywhere in Children’s Literature” by Pat Oden

Theoretical Term/Concept	Definition/Explanation	Reference from Oden (1992)
Five Themes of Geography	A framework for geographic education, including location, place, human-environment interaction, movement, and regions.	“A good framework to use is the five fundamental themes of geography developed jointly in 1984 by NCGE and AAG…” (p. 152).
Geographic Literacy	The ability to understand and analyze geographic information and concepts through reading and interpretation.	“By emphasizing these geographic concepts in the reading of the book… students’ geographic awareness and knowledge increase” (p. 151).
Place-Based Learning	Learning that is grounded in real-world locations and their characteristics.	“Authors develop a strong sense of place through descriptive narrative and/or vivid illustrations” (p. 154).
Human-Environment Interaction	How humans adapt to, modify, and impact their environment.	“During the course of the story, the landscape around Shaker Lane is altered drastically when the county decides to build a dam…” (p. 153).
Geographic Representation	The use of maps, charts, and other visual aids to depict geographic information.	“Mapping a story is an excellent way for children to become familiar with maps” (p. 156).
Interdisciplinary Learning	The integration of geography into other subjects, such as literature and reading comprehension.	“Curriculum does not have to be rewritten… Books that are already in place in the classroom and library can be looked at anew from a geographic perspective” (p. 151).
Environmental Awareness	Understanding how human actions impact the natural world and promoting sustainability.	“Books such as Brother Eagle, Sister Sky… send a strong environmental message” (p. 157).
Cultural Geography	The study of cultural products, customs, and practices in relation to geography.	“In When I Was Young in the Mountains, the geography of the Appalachian region is not as obvious but the reader gains an idea of life in a coal mining, mountainous environment nonetheless” (p. 154).
Narrative Cartography	The use of storytelling to convey spatial and geographic understanding.	“Tracking the canoe’s progress on a larger reference map is a good mapping exercise” (Paddle to the Sea, p. 156).
Educational Scaffolding	Providing structured learning experiences that support skill development in students.	“An activity to accompany the discussion… is to make a five-theme chart that categorizes the geographic terms” (p. 155).
Experiential Learning	Learning through direct experience, such as mapping exercises and geographic activities.	“Students design a community in a certain region using a base, virgin land as yet unimpacted by humans” (p. 157).

Contribution of “Geography is Everywhere in Children’s Literature” by Pat Oden to Literary Theory/Theories

1. Ecocriticism (Environmental Literary Theory)

Oden highlights how children’s literature engages with the environment and how stories reflect human-environment interactions.
Books such as Shaker Lane depict the impact of human activities on nature, reinforcing environmental awareness (Oden, 1992, p. 153).

“Books such as Brother Eagle, Sister Sky… send a strong environmental message” (p. 157).
This aligns with Ecocriticism, which examines the representation of nature and ecological concerns in literature.

2. Place and Space Theory (Human Geography in Literature)

The article emphasizes how a strong sense of place is created in children’s books through vivid descriptions and illustrations.
“Authors develop a strong sense of place through descriptive narrative and/or vivid illustrations” (p. 154).
The discussion on books like Dogsong (Paulsen, 1985) and The Cow Who Fell in the Canal (Krasilovsky, 1957) illustrates how geographic space shapes literary narratives.

This contributes to Place and Space Theory, which explores how geography influences identity, culture, and storytelling.

3. Reader-Response Theory

Oden suggests that children’s interaction with literature deepens geographic thinking and personal connections to places.

“Mapping a story is an excellent way for children to become familiar with maps” (p. 156).
By emphasizing how children interpret geographic elements in books, the article supports Reader-Response Theory, which argues that a reader’s background and experiences shape the meaning of a text.

4. Interdisciplinary Literary Studies

The article demonstrates how geography and literature intersect in education, without requiring curriculum changes.
“Curriculum does not have to be rewritten… Books that are already in place in the classroom and library can be looked at anew from a geographic perspective” (p. 151).
This supports Interdisciplinary Literary Studies, which integrates literature with other disciplines like history, geography, and environmental studies.

5. Cultural Studies and Postcolonial Theory

Oden explores how regional and cultural identities are shaped through storytelling.
“In When I Was Young in the Mountains, the geography of the Appalachian region is not as obvious, but the reader gains an idea of life in a coal mining, mountainous environment” (p. 154).

Books like Jafta – The Journey (Lewin, 1983) depict South African cultural landscapes, contributing to discussions on regional representation and cultural identity.
This aligns with Cultural Studies and Postcolonial Theory, which examine how literature represents diverse cultures, power dynamics, and place-based identities.

6. Structuralism (Themes and Narrative Patterns)

Oden applies the five themes of geography (location, place, human-environment interaction, movement, and regions) as a structural framework for analyzing literature.
“At least one of the themes is always present; often there are two or more” (p. 152).
This supports Structuralism, which argues that literature follows identifiable patterns and structures.

7. Bildungsroman (Coming-of-Age Stories and Geographic Identity)

The article discusses how journeys in children’s literature shape identity and development, a key feature of the Bildungsroman (coming-of-age novel).
Books like Heidi (Spyri, 1945) and Paddle to the Sea (Holling, 1941) depict movement and geographic transformation as essential to character growth (p. 154-156).

This supports Bildungsroman Theory, where geography plays a role in shaping a character’s experiences and personal development.

Examples of Critiques Through “Geography is Everywhere in Children’s Literature” by Pat Oden

Literary Work	Geographic Themes Used in Critique	Critique Through Oden’s Perspective
1. Paddle to the Sea (Holling, 1941)	Location, Movement, Human-Environment Interaction	Oden praises the book for its explicit geographic content, including detailed maps and accurate depictions of water systems (p. 154). The story follows the movement of a carved canoe through the Great Lakes, reinforcing geographic concepts in a narrative form that is engaging for children. The book effectively teaches mapping skills and environmental awareness. However, its focus on exploration lacks Indigenous perspectives, which is a limitation in cultural representation.
2. Heidi (Spyri, 1945)	Place, Region, Human-Environment Interaction	Oden highlights how Heidi captures the Swiss Alps as a significant place, using vivid imagery of landscapes and regional culture (p. 154). The novel emphasizes the interdependence of humans and their environment, particularly in rural and mountainous regions. Oden’s geographic analysis strengthens the novel’s cultural authenticity, but a critique could be its romanticized view of rural life, neglecting real-world socio-economic struggles.
3. Shaker Lane (Provensen, 1987)	Human-Environment Interaction, Place, Movement	Oden uses Shaker Lane to exemplify geography’s role in environmental change (p. 152). The book shows how land transforms due to human decisions, such as building a dam that floods a community. The critique praises the book’s strong environmental message, making it a valuable teaching tool. However, its simplistic portrayal of displacement lacks a deeper exploration of socioeconomic consequences on affected communities.
4. The Cow Who Fell in the Canal (Krasilovsky, 1957)	Place, Location, Movement	Oden critiques the book for successfully depicting the Netherlands’ landscapes through illustrations of canals, windmills, and village life (p. 153). The book encourages children to engage with geographic features, making them aware of different environments. However, Oden might critique its lack of depth in explaining Dutch culture beyond its aesthetic appeal, reducing geography to a touristic perspective rather than a dynamic social and historical study.

Criticism Against “Geography is Everywhere in Children’s Literature” by Pat Oden

Overgeneralization of Geographic Themes in Literature
- Oden assumes that all children’s literature contains geographic elements, but some works may not have explicit geographic content and are instead driven by other thematic concerns, such as psychology, ethics, or fantasy.

Lack of Cultural and Postcolonial Critique
- The article does not sufficiently address how colonial narratives are embedded in geography-related literature.
- Books like Paddle to the Sea focus on Western exploration while ignoring Indigenous perspectives on land and geography (Oden, 1992, p. 154).

Simplistic View of Environmental Issues
- While Oden discusses human-environment interactions, her analysis does not critically address deeper ecological problems, such as climate change, land rights, and resource exploitation in children’s literature.
- Books like Shaker Lane depict environmental change but lack discussions on corporate responsibility or policy-driven impacts (Oden, 1992, p. 152).

Insufficient Engagement with Literary Theory
- Oden’s analysis is rooted in geographic education rather than literary theory, leading to a descriptive rather than analytical approach to literature.
- The article does not engage with key literary concepts like narrative space, ecocriticism, or geocriticism, which could strengthen its theoretical impact.

Limited Discussion of How Geography Shapes Identity in Literature
- While Oden emphasizes place and movement, she does not deeply explore how geography shapes character identity and cultural belonging in children’s books.
- For example, Heidi presents Swiss landscapes as idyllic but does not consider how geography influences class divisions or migration issues (Oden, 1992, p. 154).

Focus on Western Canon, Ignoring Diverse Global Perspectives
- The article mainly analyzes Western and Eurocentric children’s books, such as Heidi and The Cow Who Fell in the Canal.
- There is little mention of non-Western children’s literature, missing opportunities to discuss geographic narratives from Africa, Asia, or Latin America that present different cultural relationships with land and place.

Educational Approach Lacks Consideration for Reader Reception
- Oden assumes that children naturally absorb geographic concepts from literature without questioning how children interpret and engage with place-based narratives differently.
- A more reader-response approach could explore how different audiences experience geography in stories based on their own backgrounds and locations.

Representative Quotations from “Geography is Everywhere in Children’s Literature” by Pat Oden with Explanation

Quotation	Explanation
“Geographic concepts are present in a large percentage of books—whether a real place is described, leaving the reader with an accurate image of what the place is like, or a situation is presented dealing with people’s impact on the environment.” (Oden, 1992, p. 151)	Oden argues that geography is inherent in children’s literature, whether through direct descriptions of locations or through themes of human-environment interaction.
“Since geography is not often taught as a separate subject at the elementary level, using books that are geographical in concepts or portray strong geographical images provides a rich opportunity to bring geography to the forefront in the early grades.” (Oden, 1992, p. 151)	The author highlights how children’s literature can supplement geography education, particularly when geography is not a distinct subject in early education.
“A book can be the vehicle that conveys a geographical message to students, whether it is the geographic theme of place—as in The Desert is Theirs (Baylor 1975), in which the desert becomes a special, real place—or focused on the feeling of the culture of a region that one gets when reading In Coal Country (Hendershot 1987).” (Oden, 1992, p. 152)	Oden asserts that books do not need to be explicitly about geography to communicate a geographical message, and she gives examples of books that illustrate place and regional identity.
“The five fundamental themes of geography—location, place, human-environment interactions, movement, and regions—thread through books and can be used to stimulate geographic thinking.” (Oden, 1992, p. 152)	Oden applies the Five Themes of Geography, developed by the National Council for Geographic Education (NCGE), as a framework for analyzing geography in literature.
“The movement theme is quite apparent in Jafta the Journey (Lewin 1983). Jafta is a young South African boy who travels on foot and by oxcart, bus, and ferry from his rural village to the town where his father works.” (Oden, 1992, p. 153)	This illustrates how literature can convey the concept of movement by depicting characters traveling across different landscapes and utilizing various modes of transportation.
“The theme that runs through the majority of the books and is also the easiest of the themes to identify is place. Authors develop a strong sense of place through descriptive narrative and/or vivid illustrations.” (Oden, 1992, p. 153)	Oden argues that “place” is the most prominent geographical theme in literature, often emphasized through vivid descriptions and illustrations that create a strong sense of setting.
“Books such as Brother Eagle, Sister Sky (Jeffers 1991), The Great Kapok Tree: A Tale of the Amazon Rain Forest (Cherry 1990), and Shaker Lane (Provensen 1987), in which the theme of human/environment interactions is predominant, send a strong environmental message.” (Oden, 1992, p. 154)	The author emphasizes how children’s books can communicate environmental concerns, particularly how humans interact with and alter natural landscapes.
“Mapping a story is an excellent way for children to become familiar with maps. It not only develops the skill of reading a map but aids in the important reading comprehension skill of sequencing events.” (Oden, 1992, p. 154)	Oden introduces a pedagogical strategy where children engage with geography by mapping events from a story, reinforcing both geographical and literacy skills.
“There is a marvelous selection of children’s books that are filled with geography available on library and bookstore shelves today. When reading them and following them up with a structured activity or with a focused discussion, these books can become the link between the classroom and the real world.” (Oden, 1992, p. 155)	Oden suggests that literature bridges the gap between education and real-world geography by encouraging interactive discussions and activities.
“The message the student receives is that reading leads to discovery and to a better understanding of the earth and its people. This is a grand geography lesson to associate with good reading.” (Oden, 1992, p. 155)	The article concludes with the idea that literature fosters both geographic literacy and a broader cultural awareness, positioning books as tools for discovery.

“Geography and Literature” by Douglas C.D. Pocock: Summary and Critique

“Geography and Literature” by Douglas C.D. Pocock first appeared in Progress in Human Geography in 1981, exploring the interdisciplinary relationship between geography and literary studies.

Introduction: “Geography and Literature” by Douglas C.D. Pocock

“Geography and Literature” by Douglas C.D. Pocock first appeared in Progress in Human Geography in 1981, exploring the interdisciplinary relationship between geography and literary studies. Pocock argues that geography, inherently a discipline of “borrowing,” finds a natural connection with literature, particularly in the exploration of place, setting, and human-environment relationships. His article, Interface: Geography and Literature, delves into how literature, through its integrated triad of person, plot, and place, contributes to geographical understanding. Despite historical neglect of setting in literary studies, Pocock highlights the role of regional novels and landscape descriptions in shaping geographical consciousness. The article traces the history of geographical engagement with literature, referencing scholars who have emphasized the spatial aspects of storytelling and the impact of location on character development. By examining novels, poetry, and travel writings, Pocock establishes literature as both a source and a methodological tool for geographers. His work remains significant in literary theory as it underscores the reciprocal influence between geographical space and narrative construction, positioning literature as a lens through which geographers can analyze human experiences of place and movement.

Summary of “Geography and Literature” by Douglas C.D. Pocock

1. The Interdisciplinary Nature of Geography and Literature

Pocock argues that geography is inherently interdisciplinary, borrowing insights from various disciplines, including literature. He states, “With a derivative base and integrative aim, it is the very essence of geography to ‘borrow’” (Pocock, 1981, p. 88).

The interaction between geography and literature is essential for understanding human-environment relationships, as literature presents an integrated perspective on “person, plot, and place” (Thorpe, 1967).

2. The Neglect of Setting in Literary Criticism

Pocock points out that literary studies have historically neglected the role of setting and landscape, which he finds ironic given their influence on action and personality.

He cites Marcotte (1974) and Lutwack (1984), who note that setting has often been overlooked, with even prominent literary works like Aspects of the Novel by Forster (1927) failing to address it, aside from a single page on “Uses of the weather” (p. 88).
However, some literary scholars have given attention to place, such as Watson (1970), Barrell (1972), and Alcorn (1977).

3. Early Geographic Engagement with Literature

Interest in using literature for geographical studies dates back to Mill (1910) in England and Anon (1923) in North America.
However, significant academic engagement only began in the 1970s, with major conferences like:
- The 1972 IGU meeting on regional novels in teaching geography.
- The 1974 AAG session on landscape in literature.
- The IBG’s annual conferences on geography and literature from 1979 onward.

4. The Role of Setting in Literature and Geography

Pocock asserts that setting is the “most obvious point of interest for our discipline” (p. 89).
Literature’s descriptive power has been utilized by geographers to justify regional concepts (Gilbert, 1960), illustrate landscape features (Salter, 1978), and explore regional consciousness (Paterson, 1965; Pocock, 1978, 1979).
Fictional landscapes, though often disregarded, offer important insights into human-environment relationships (Lowenthal, 1983).

5. Relationship Between Geography, Setting, and Fiction

The distinction between factual geography and literary landscapes is blurred, as authors often “visit potential localities, investigate local history and customs, or construct maps” (Sillitoe, 1975, p. 59-77).
However, literature transforms place into symbolic meaning, as “all places in literature are used for symbolical purposes even though in their descriptiveness they may be rooted in fact” (Lutwack, 1984, p. 29-31).

6. Character and Environment in Literature

The geographer’s interest in person-environment relations finds a parallel in literature.
Classic literature often presents a causal relationship between place and character, as seen in “And as the soil, so the heart of man” (Byron).

Regional novels depict a symbiotic relationship between place and personality (Alcorn, 1977).
Modern literature, however, has distanced itself from this connection, treating place more as a symbol of psychological states than a determinant of character (Porteous, 1986).

7. Literature as a Source of Geographical Knowledge

Pocock argues that literature does not merely reflect geography but actively constructs it by shaping our perceptions of space and place.
He cites The Swiss Family Robinson as a literary representation of 19th-century Australian colonization (Birmingham and Jeans, 1983).
Literature has been used to study migration, urban segregation, and informal economies (White, 1985; Lloyd, 1981; Hart and Rogerson, 1985).

8. The Role of Metaphor and Language in Geographic Thought

Language and metaphor play a crucial role in structuring our geographical understanding.
Pocock highlights studies on metaphor in geography, such as Buttimer’s (1984) “root metaphors” and Livingstone and Harrison’s (1981) work on “meaning through metaphor”.

The “body-landscape metaphor”, in which landscapes are described in human anatomical terms, has been a longstanding literary device (Porteous, 1986; Lutwack, 1984).

9. Literature’s Role in Social and Environmental Awareness

Literature has shaped public attitudes toward the environment, influencing perceptions of landscapes such as mountains (Nicolson, 1959), deserts (Smith, 1961), and heathlands (Olwig, 1981).

Pocock suggests that literature fosters a sensitivity to the environment, a necessity for human survival (Lutwack, 1984).

10. Conclusion: The Dual Role of Literature in Geography

Literature serves as both “a source and a tool for geographical exploration” (Pocock, 1981, p. 97).

The intersection of geography and literature is both substantive (data-seeking) and methodological (philosophical).
Some geographers engage with literature through literary criticism (e.g., studies on Lawrence and Hardy), while others use it to explore cultural geography.
Ultimately, Pocock asserts that geography is concerned with storytelling, making its engagement with literature a natural and necessary scholarly endeavor.

Theoretical Terms/Concepts in “Geography and Literature” by Douglas C.D. Pocock

Theoretical Term/Concept	Description
Human-Environment Relations	The study of the interactions between humans and their geographical surroundings, a central theme in geography and literature.
Person, Plot, and Place Triad	Pocock’s framework where literature is analyzed through its portrayal of person, plot, and place, linking narrative with spatial settings.
Geographical Realism	The extent to which literature accurately represents real-world geography and landscapes, often blending fact and fiction.
Environmental Determinism	The idea that physical environments shape human behavior and cultural development, a notion both supported and challenged in literature.
Regional Consciousness	A concept referring to how individuals or communities identify with and perceive their geographic region, often explored in fiction.
Literary Geography	The study of literature to understand geographic concepts, places, and landscapes, used as a tool for geographical research.
Metaphorical Vision	The use of metaphor in geography to structure human understanding of space and environment.
Body-Landscape Metaphor	A literary device where landscapes are described using human anatomical terms, reinforcing human-nature connections.
Spatial Character of Plot	The analysis of how plot development in literature is influenced by spatial arrangements and movement patterns.
Insideness-Outsideness	A phenomenological concept describing the depth of human attachment or detachment from a place.
Home-Away Axis	A conceptual framework introduced by Porteous to expand insideness-outsideness by adding movement between ‘home’ and ‘away’.
Social Construction of Literature	The notion that literature is not just a reflection of reality but a socially constructed product influenced by historical and ideological contexts.
Landscape as Symbol	The view that settings in literature function symbolically, transcending their descriptive role to convey deeper meanings.
Literary Imagination in Geography	The role of literature in shaping geographical thought and perception, often revealing humanistic insights into place and space.
Existential Significance of Place	The understanding that places gain meaning through lived experiences, making them central to human identity and memory.

Contribution of “Geography and Literature” by Douglas C.D. Pocock to Literary Theory/Theories

1. Humanist Literary Geography

Pocock emphasizes a humanistic approach to geography through literature, arguing that literature provides insights into the human experience of place.
He highlights how setting in literature is not merely a backdrop but a key element shaping human consciousness: “Place emerges through experience and in turn symbolizes that experience” (Pocock, 1981, p. 90).

His work aligns with humanist geography, which focuses on lived experience, perception, and meaning in place, similar to the theories proposed by Yi-Fu Tuan (1978a).

2. Environmental Determinism and Its Critique in Literature

Pocock discusses how literature historically portrayed environmental determinism—the idea that physical geography influences human behavior and culture.

He notes that “the novel, especially during the nineteenth century, widely drew a causal relationship between place and character” (Pocock, 1981, p. 91).
This resonates with the deterministic perspectives of early geographic thought but is problematized in modern literary studies, where place is seen as more fluid and symbolic.

3. Space and Place Theory in Literary Studies

The article contributes to spatial literary criticism by asserting that literary settings influence both character and narrative structure.
Pocock argues, “setting, the landscape, locality, place, or region in which a story is set, is the most obvious point of interest for our discipline” (Pocock, 1981, p. 89).
This aligns with Henri Lefebvre’s The Production of Space (1974), which argues that space is socially and symbolically produced.

4. Regionalism and the Literary Representation of Place

Pocock examines how regional literature constructs identity, stating that “regional novels described the symbiosis with particular settings” (Pocock, 1981, p. 91).
His work connects with regional literary studies, which explore how literature shapes perceptions of specific geographical regions, as seen in the works of Lawrence Buell (1995).

5. Metaphor and Symbolism in Literary Geography

Pocock discusses the use of metaphor in describing landscapes, aligning with semiotic literary theory.
He references “the body-landscape metaphor,” where “parts of the body are metaphorically matched with landscape features” (Porteous, 1986b, p. 10, cited in Pocock, 1981).

This corresponds with structuralist literary theory, particularly the work of Roland Barthes, who explored how metaphors shape cultural meaning.

6. Poststructuralist Approaches to Literature and Geography

While Pocock does not explicitly engage with poststructuralism, his discussion of the “social construction of literature” reflects poststructuralist concerns.

He notes that literature is not merely reflective of reality but a “socially constructed product, influenced by historical and ideological contexts” (Pocock, 1981, p. 95).
This aligns with the ideas of Michel Foucault (1980), who argued that discourse shapes our understanding of reality.

7. The Role of Literature in Shaping Environmental Perception

Pocock suggests that literature influences environmental consciousness, stating, “creative literature is to be seen in terms of the contemporary need for sensitivity to the environment for human survival” (Pocock, 1981, p. 92).
This contribution aligns with ecocriticism, particularly the works of Cheryll Glotfelty (1996), who argued that literature shapes ecological awareness.

8. Narrative and Spatial Structure in Literary Studies

Pocock highlights how “location is the cross-roads of circumstance” (Welty, 1956, p. 59, cited in Pocock, 1981), emphasizing the role of space in narrative construction.
His analysis connects with narrative theory, particularly the work of Mikhail Bakhtin (1981) on the chronotope, which examines how space and time interact in storytelling.

Examples of Critiques Through “Geography and Literature” by Douglas C.D. Pocock

Literary Work	Geographical Critique
Wessex Novels by Thomas Hardy	Pocock highlights how Hardy’s novels depict a strong symbiotic relationship between character and landscape, reinforcing the idea of regional consciousness. He notes that “regional novels described the symbiosis with particular settings” (Pocock, 1981, p. 91). Hardy’s Wessex is not just a setting but actively shapes the fate and behavior of its characters.
The Swiss Family Robinson by Johann David Wyss	Used as a case study in colonization, this novel illustrates how settlers impose European structures onto new lands. Pocock cites Birmingham and Jeans (1983), who analyze the novel’s depiction of environmental adaptation and the transformation of wilderness into a familiar European-style settlement.
South African Urban Literature	Pocock discusses how South African literature represents urbanism, segregation, and place identity in black townships. He references Pirie (1982) and Hart (1984, 1986) to show how literature captures the socio-spatial inequalities of apartheid-era cities, making it a valuable geographical document.
Victorian Novels (e.g., Charles Dickens)	Pocock aligns Victorian novels with geographical realism, noting their synthesis of objectivity and subjectivity. He refers to Tuan (1978a), who suggests that “the Victorian novel is a model for the regional geographer” (Pocock, 1981, p. 90). Dickens’ depiction of London, for example, blends realism with social critique, emphasizing the interplay between space and social conditions.

Criticism Against “Geography and Literature” by Douglas C.D. Pocock

1. Lack of Reciprocal Engagement Between Literature and Geography

Pocock himself acknowledges that the interest in the interface between geography and literature has been “largely unidirectional” (Pocock, 1981, p. 88).
Critics argue that while geographers borrow from literature, literary scholars have not significantly engaged with geographical perspectives, making the dialogue imbalanced.

2. Overemphasis on Regionalism and Traditional Literary Forms

Pocock’s analysis largely focuses on regional novels and classic literary forms, particularly 19th-century literature.
Porteous (1985) critiques literary geographers for “concentrating on nineteenth-century novels and rural settings,” arguing that this overlooks the diversity of modern literature, including urban and postmodern texts.

3. Underrepresentation of Non-Western Literatures

The study primarily focuses on English literature or literature from the English-speaking world.
While Pocock acknowledges this limitation, critics argue that a more global perspective would enhance the applicability of his theories to non-Western literary traditions (Pocock, 1981, p. 88).

4. Insufficient Engagement with Poststructuralism and Critical Theory

Pocock’s approach leans towards humanistic geography, but it does not fully engage with poststructuralist and critical theories such as those of Foucault or Derrida.
Watson (1986) suggests that “landscape being a text whose meaning depends on the interaction of its different parts” aligns with structuralist thought, yet Pocock does not explore this in depth.

5. The Problem of Extracting Geography from Literature

Some literary critics argue that extracting geographical insights from literature risks reducing the artistic integrity of the work.
Thrift (1978) warns that such an approach may “destroy the totality of the art form,” making literature a mere tool for geographical study rather than an independent artistic expression.

6. Questionable Use of Literature as Empirical Evidence

Weightman (1977) argues that “the novel is no good as evidence for a social scientist—unless he’s studying reading habits.”
The use of fiction as a primary geographical source is debated, as literature often prioritizes symbolic rather than factual representation of space and place.

7. Limited Exploration of the Role of the Reader

Postmodern literary theories emphasize the reader’s role in interpreting texts, but Pocock’s approach is more author- and text-centered.
Silk (1984) critiques the tendency of geographers to treat literary texts as stable representations of place without fully considering how readers construct meaning.

Representative Quotations from “Geography and Literature” by Douglas C.D. Pocock with Explanation

“With a derivative base and integrative aim, it is the very essence of geography to ‘borrow’.”
- Pocock highlights the interdisciplinary nature of geography, arguing that it frequently draws from other fields, including literature, to enrich its analytical framework. This suggests that geography is not a self-contained discipline but one that relies on external narratives to develop its perspectives.
“The interface with literature, with its integrated triad of person, plot and place, is an essential field for geography no less than for any other discipline attempting an explication of the human condition.”
- Here, Pocock defines the fundamental connection between geography and literature. He suggests that literature’s depiction of individuals, events, and settings provides crucial insights for geographical studies, particularly in understanding human-environment relationships.

“It is the exception and delight to geographers, therefore, to come upon works of particular literary scholars which do give due attention to the neglected place element.”
- Pocock laments the general lack of attention given to place in literary analysis. While many literary critics focus on character and plot, he sees setting as equally vital and celebrates those scholars who acknowledge its importance.
“Setting, the landscape, locality, place or region in which a story is set, is the most obvious point of interest for our discipline.”
- This statement reinforces the idea that setting is the primary link between geography and literature. By analyzing descriptions of landscapes and locations in literary texts, geographers can gain insights into regional identities and spatial perceptions.
“Poetry, it is generally accepted, is less concerned with observation of landscape than with its use to set in motion the writer’s subjective response.”
- Pocock acknowledges that different literary genres engage with geography in distinct ways. While novels may provide detailed landscape descriptions, poetry often transforms geographical elements into personal, emotional, or symbolic expressions.

“Belief in a factual base is fostered by knowledge of the extent to which authors visit potential localities, investigate local history and customs, or construct or consult maps.”
- This highlights the blurred boundary between fiction and reality in literary geography. Pocock argues that many authors base their fictional settings on real places, reinforcing the geographical credibility of their narratives.
“Literature not only reconstitutes, it may also formulate experience, most generally through its socializing role whereby our culture is the norm by which we evaluate the rest of the world.”
- Pocock emphasizes literature’s power to shape perceptions of places and societies. Through stories, readers develop cultural expectations and assumptions about different regions, reinforcing or challenging geographical stereotypes.
“We require challenge of the new, as well as security of the established, place – movement as well as rootedness.”
- Here, Pocock reflects on the dialectic between stability and mobility in human geography. Literature, he argues, captures this tension by depicting characters’ attachments to places alongside their desires for exploration and change.

“The geographer clearly aims to ‘better’ with a distinctive viewpoint or thrust as he or she seeks understanding of human-environment relations.”
- This statement defends the geographer’s use of literature, asserting that geographical analysis adds value to literary studies by offering unique perspectives on space, place, and landscape.
“The ultimate engagement with literature is achieved when scholar turns artist.”

Pocock suggests that the highest form of interaction between geography and literature occurs when geographers themselves engage in creative writing. By producing their own literary works, they can experiment with geographical storytelling in new and imaginative ways.

Introduction: “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Summary of “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Theoretical Terms/Concepts in “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Contribution of “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls to Literary Theory/Theories

Examples of Critiques Through “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Criticism Against “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Representative Quotations from “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls with Explanation

Suggested Readings: “Literature, Geography, and the Spaces of Interdisciplinarity” by Laura Dassow Walls

Introduction: “Literature And The New Cultural Geography” by Elizabeth Jones

Summary of “Literature And The New Cultural Geography” by Elizabeth Jones

Theoretical Terms/Concepts in “Literature And The New Cultural Geography” by Elizabeth Jones

Contribution of “Literature And The New Cultural Geography” by Elizabeth Jones to Literary Theory/Theories

Examples of Critiques Through “Literature And The New Cultural Geography” by Elizabeth Jones

Criticism Against “Literature And The New Cultural Geography” by Elizabeth Jones

Representative Quotations from “Literature And The New Cultural Geography” by Elizabeth Jones with Explanation

Suggested Readings: “Literature And The New Cultural Geography” by Elizabeth Jones

Introduction: “Literature and Humanist Geography” by J. Douglas Porteous

Summary of “Literature and Humanist Geography” by J. Douglas Porteous

Theoretical Terms/Concepts in “Literature and Humanist Geography” by J. Douglas Porteous

Contribution of “Literature and Humanist Geography” by J. Douglas Porteous to Literary Theory/Theories

Examples of Critiques Through “Literature and Humanist Geography” by J. Douglas Porteous

Criticism Against “Literature and Humanist Geography” by J. Douglas Porteous

Representative Quotations from “Literature and Humanist Geography” by J. Douglas Porteous with Explanation

Key Insights from the Table:

Suggested Readings: “Literature and Humanist Geography” by J. Douglas Porteous

Introduction: “Literary Geography: Setting And Narrative Space” by Sheila Hones

Summary of “Literary Geography: Setting And Narrative Space” by Sheila Hones

Theoretical Terms/Concepts in “Literary Geography: Setting And Narrative Space” by Sheila Hones

Examples of Critiques Through “Literary Geography: Setting And Narrative Space” by Sheila Hones

Criticism Against “Literary Geography: Setting And Narrative Space” by Sheila Hones

Representative Quotations from “Literary Geography: Setting And Narrative Space” by Sheila Hones with Explanation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Introduction: “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Summary of “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Theoretical Terms/Concepts in “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Contribution of “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones to Literary Theory/Theories

Examples of Critiques Through “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Criticism Against “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Representative Quotations from “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones with Explanation

Suggested Readings: “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones

Introduction: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Summary of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Theoretical Terms/Concepts in “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Contribution of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova to Literary Theory/Theories

Examples of Critiques Through “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Criticism Against “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Representative Quotations from “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova with Explanation

Suggested Readings: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Introduction: “Geography is Everywhere in Children’s Literature” by Pat Oden

Summary of “Geography is Everywhere in Children’s Literature” by Pat Oden

Contribution of “Geography is Everywhere in Children’s Literature” by Pat Oden to Literary Theory/Theories

Examples of Critiques Through “Geography is Everywhere in Children’s Literature” by Pat Oden

Criticism Against “Geography is Everywhere in Children’s Literature” by Pat Oden

Representative Quotations from “Geography is Everywhere in Children’s Literature” by Pat Oden with Explanation

Suggested Readings: “Geography is Everywhere in Children’s Literature” by Pat Oden

Introduction: “Geography and Literature” by Douglas C.D. Pocock

Summary of “Geography and Literature” by Douglas C.D. Pocock

Theoretical Terms/Concepts in “Geography and Literature” by Douglas C.D. Pocock

Contribution of “Geography and Literature” by Douglas C.D. Pocock to Literary Theory/Theories

Examples of Critiques Through “Geography and Literature” by Douglas C.D. Pocock

Criticism Against “Geography and Literature” by Douglas C.D. Pocock

Representative Quotations from “Geography and Literature” by Douglas C.D. Pocock with Explanation

Suggested Readings: “Geography and Literature” by Douglas C.D. Pocock