“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).

"Literary Geography And The Writer's Country" by Ian M. Matley: Summary and Critique
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/ConceptDescriptionReference
Literary GeographyA 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 CountryA 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 InfluenceThe 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 GeographyThe 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 GeographyA 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 LiteratureThe 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-SpecificityThe 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 InfluencesA 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 ChildhoodThe 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 LiteratureThe 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 WorkCritique through Literary GeographyKey ConceptReference
“Wuthering Heights” by Emily BrontëThe 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 HardyHardy’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 DoyleThe 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 StokerThe 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
QuotationExplanation
“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.
Suggested Readings: “Literary Geography And The Writer’s Country” by Ian M. Matley
  1. Matley, Ian M. “Literary geography and the writer’s country.” Scottish Geographical Magazine 103.3 (1987): 122-131.
  2. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History, vol. 10, no. 3, 1998, pp. 544–67. JSTOR, http://www.jstor.org/stable/490111. Accessed 24 Feb. 2025.
  3. Horowitz, Helen Lefkowitz. “The Writer’s Path: J. B. Jackson and Cultural Geography as a Literary Genre.” SiteLINES: A Journal of Place, vol. 11, no. 1, 2015, pp. 3–7. JSTOR, http://www.jstor.org/stable/24889498. Accessed 24 Feb. 2025.
  4. Hart, Deborah. “A Literary Geography of Soweto.” GeoJournal, vol. 12, no. 2, 1986, pp. 191–95. JSTOR, http://www.jstor.org/stable/41143617. Accessed 24 Feb. 2025.

“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.

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

  1. 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).
  2. On generic settings in short stories: “Precisely because these settings are non-specific and easily recognizable, they are able to function thematically” (p. 474).
  3. 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).
  4. 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/ConceptExplanationReference in Hones’ Article
Literary GeographyThe 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 SettingA 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 SpaceThe 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 ReadingThe 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 TrapsThe 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 SettingA 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 StyleThe 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 GeographiesA 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 RepresentationThe 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. OpennessThe 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 InteractionThe 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 CompressionThe 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 DetonationThe 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 & AuthorCritique Through Hones’ FrameworkReference 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
QuotationExplanation
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.
Suggested Readings: “Literary Geography And The Short Story: Setting And Narrative Style” by Sheila Hones
  1. Hones, Sheila. “Literary geography and the short story: setting and narrative style.” Cultural geographies 17.4 (2010): 473-485.
  2. 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 23 Feb. 2025.
  3. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History, vol. 10, no. 3, 1998, pp. 544–67. JSTOR, http://www.jstor.org/stable/490111 Accessed 23 Feb. 2025.
  4. Hart, Deborah. “A Literary Geography of Soweto.” GeoJournal, vol. 12, no. 2, 1986, pp. 191–95. JSTOR, http://www.jstor.org/stable/41143617. Accessed 23 Feb. 2025.
  5. Kennedy, Joy. “The Edge of the Map: Feminist Geography and Literature.” Interdisciplinary Literary Studies, vol. 6, no. 1, 2004, pp. 79–90. JSTOR, http://www.jstor.org/stable/41207039. Accessed 23 Feb. 2025.

“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.

"Literary Geographies: Creative Mapping Assignments in a Humanities Classroom" by Alla Ivanchikova: Summary and Critique
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
  1. 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).
  2. 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).
  3. 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).
  4. 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).
  5. 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).
  6. 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).
  7. 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).
  8. 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).
  9. 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).
  10. 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/ConceptDefinitionExplanationReference
Literary GeographyThe 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 TurnA 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
GeocriticismA 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
ImmappancyThe 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 MappingA 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 MappingA 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 MappingA 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. PlaceThe 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 RhetoricityThe 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 AgencyThe 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 WorkMapping CritiqueExplanation of CritiqueReference
Into the Wild by Jon KrakauerPositivist MapsStudents 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 TicasukAllegorical MapsStudents 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 KantnerAnalytical MapsThe 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 HosseiniComparative MapsStudents 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
QuotationExplanation
“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 SchultenThis 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.
Suggested Readings: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova
  1. Ivanchikova, Alla. “Literary geographies: Creative mapping assignments in a humanities classroom.” College Literature 44.4 (2017): 675-707.
  2. Ivanchikova, Alla. “Literary Geographies: Creative Mapping Assignments In A Humanities Classroom.” College Literature, vol. 44, no. 4, 2017, pp. 675–707. JSTOR, https://www.jstor.org/stable/48553651. Accessed 23 Feb. 2025.
  3. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History, vol. 10, no. 3, 1998, pp. 544–67. JSTOR, http://www.jstor.org/stable/490111. Accessed 23 Feb. 2025.
  4. SCANDURA, JANI. “American Literary Geographies.” NOVEL: A Forum on Fiction, vol. 43, no. 2, 2010, pp. 330–35. JSTOR, http://www.jstor.org/stable/40959710. Accessed 23 Feb. 2025.

“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).

"Geography is Everywhere in Children's Literature" by Pat Oden: Summary and Critique
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/ConceptDefinition/ExplanationReference from Oden (1992)
Five Themes of GeographyA 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 LiteracyThe 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 LearningLearning 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 InteractionHow 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 RepresentationThe 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 LearningThe 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 AwarenessUnderstanding 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 GeographyThe 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 CartographyThe 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 ScaffoldingProviding 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 LearningLearning 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 WorkGeographic Themes Used in CritiqueCritique Through Oden’s Perspective
1. Paddle to the Sea (Holling, 1941)Location, Movement, Human-Environment InteractionOden 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 InteractionOden 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, MovementOden 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, MovementOden 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
QuotationExplanation
“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.
Suggested Readings: “Geography is Everywhere in Children’s Literature” by Pat Oden
  1. Oden, Pat. “Geography is everywhere in children’s literature.” Journal of Geography 91.4 (1992): 151-158.
  2. Leander, Kevin M., et al. “The Changing Social Spaces of Learning: Mapping New Mobilities.” Review of Research in Education, vol. 34, 2010, pp. 329–94. JSTOR, http://www.jstor.org/stable/40588181. Accessed 23 Feb. 2025.
  3. Lamme, Ary J. “Geography and Children’s Literature.” Internationale Schulbuchforschung, vol. 11, no. 1, 1989, pp. 27–37. JSTOR, http://www.jstor.org/stable/43056927. Accessed 23 Feb. 2025.
  4. Winchester, Hilary P. M. “The Geography of Children.” Area, vol. 23, no. 4, 1991, pp. 357–60. JSTOR, http://www.jstor.org/stable/20003023. Accessed 23 Feb. 2025.
  5. Sibley, David, and Sarah James. “Children’s Geographies: Some Problems of Representation.” Area, vol. 23, no. 3, 1991, pp. 269–71. JSTOR, http://www.jstor.org/stable/20002994. Accessed 23 Feb. 2025.

“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.

"Geography and Literature" by Douglas C.D. Pocock: Summary and Critique
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/ConceptDescription
Human-Environment RelationsThe study of the interactions between humans and their geographical surroundings, a central theme in geography and literature.
Person, Plot, and Place TriadPocock’s framework where literature is analyzed through its portrayal of person, plot, and place, linking narrative with spatial settings.
Geographical RealismThe extent to which literature accurately represents real-world geography and landscapes, often blending fact and fiction.
Environmental DeterminismThe idea that physical environments shape human behavior and cultural development, a notion both supported and challenged in literature.
Regional ConsciousnessA concept referring to how individuals or communities identify with and perceive their geographic region, often explored in fiction.
Literary GeographyThe study of literature to understand geographic concepts, places, and landscapes, used as a tool for geographical research.
Metaphorical VisionThe use of metaphor in geography to structure human understanding of space and environment.
Body-Landscape MetaphorA literary device where landscapes are described using human anatomical terms, reinforcing human-nature connections.
Spatial Character of PlotThe analysis of how plot development in literature is influenced by spatial arrangements and movement patterns.
Insideness-OutsidenessA phenomenological concept describing the depth of human attachment or detachment from a place.
Home-Away AxisA conceptual framework introduced by Porteous to expand insideness-outsideness by adding movement between ‘home’ and ‘away’.
Social Construction of LiteratureThe notion that literature is not just a reflection of reality but a socially constructed product influenced by historical and ideological contexts.
Landscape as SymbolThe view that settings in literature function symbolically, transcending their descriptive role to convey deeper meanings.
Literary Imagination in GeographyThe role of literature in shaping geographical thought and perception, often revealing humanistic insights into place and space.
Existential Significance of PlaceThe 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 WorkGeographical Critique
Wessex Novels by Thomas HardyPocock 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 WyssUsed 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 LiteraturePocock 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
  1. “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.
  2. “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.
  3. “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.
  4. “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.
  5. “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.
  6. “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.
  7. “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.
  8. “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.
  9. “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.
  10. “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.
Suggested Readings: “Geography and Literature” by Douglas C.D. Pocock
  1. Porteous, J. Douglas. “Literature and Humanist Geography.” Area, vol. 17, no. 2, 1985, pp. 117–22. JSTOR, http://www.jstor.org/stable/20002164. Accessed 23 Feb. 2025.
  2. Pocock, DOUGLAS C. DOUGLAS “Geography and Literature.” Area, vol. 12, no. 1, 1980, pp. 79–80. JSTOR, http://www.jstor.org/stable/20001555. Accessed 23 Feb. 2025.
  3. Pocock, Douglas. “Geography and Literature.” Area, vol. 16, no. 1, 1984, pp. 73–73. JSTOR, http://www.jstor.org/stable/20002007. Accessed 23 Feb. 2025.
  4. Giffard, E. O. “Geography and Literature.” The Geographical Journal, vol. 114, no. 1/3, 1949, pp. 116–18. JSTOR, https://doi.org/10.2307/1790019. Accessed 23 Feb. 2025.

“Geographies of Poetry/Poetries of Geography” by Tim Cresswell: Summary and Critique

“Geographies of Poetry/Poetries of Geography” by Tim Cresswell first appeared in Cultural Geographies in 2014 (Vol. 21, Issue 1, pp. 141–146), originally published online on October 18, 2013.

"Geographies of Poetry/Poetries of Geography" by Tim Cresswell: Summary and Critique
Introduction: “Geographies of Poetry/Poetries of Geography” by Tim Cresswell

“Geographies of Poetry/Poetries of Geography” by Tim Cresswell first appeared in Cultural Geographies in 2014 (Vol. 21, Issue 1, pp. 141–146), originally published online on October 18, 2013. In this reflective piece, Cresswell explores the intersection of geography and poetry, drawing from his personal journey as a geographer who embraced poetic practice. He argues that geography and poetry are mutually enriching disciplines, where geographic concepts such as place, landscape, and mobility influence poetic expression, and poetic sensibilities can deepen geographical understanding. The article underscores the historical engagement of geographers with creative writing, referencing figures like James Wreford-Watson and Simon Armitage, while also highlighting the broader literary tradition of incorporating geography into poetry. Cresswell discusses how poetry allows for a more nuanced and affective engagement with space, challenging the conventional boundaries of academic discourse. His work is significant in literary theory and cultural geography as it advocates for a creative turn in geographical writing, encouraging scholars to embrace artistic methodologies. By bridging the poetic and the geographic, Cresswell calls for a broader appreciation of how literature can shape our spatial imaginaries, making a compelling case for the integration of creative writing within human geography. His reflections not only contribute to the discourse on literary geographies but also encourage geographers to engage in the creation of literary texts as a legitimate scholarly endeavor.

Summary of “Geographies of Poetry/Poetries of Geography” by Tim Cresswell
  1. The Intersection of Geography and Poetry: Cresswell (2014) explores the mutual influence of geography and poetry, arguing that both disciplines engage with place, landscape, and mobility. He reflects on his own journey as a geographer who became a poet and how this dual engagement has shaped his academic and creative work. The article challenges the rigid boundaries of academic writing by advocating for a more creative and literary approach to geography (Cresswell, 2014).
  2. Personal Journey from Geographer to Poet: The article is partly autobiographical, detailing Cresswell’s gradual transition into poetry. He describes how an encounter at the AAG Annual Meeting in 2008 sparked his realization that creative writing should not be seen as separate from academic geography. His engagement with poetry, from student exercises in “humanistic geography” at University College London to participating in poetry collectives and formal training at Faber Academy, shaped his creative and academic outlook (Cresswell, 2014).
  3. The Historical Relationship Between Geography and Poetry: Cresswell traces the tradition of geographers engaging in poetic practice, citing James Wreford-Watson and Jay Appleton as examples of scholars who have bridged the gap between these fields. He also highlights poets like Simon Armitage and Elizabeth Bishop, whose works explicitly engage with geographic themes. This historical perspective underscores the argument that geography and poetry are deeply intertwined (Cresswell, 2014).
  4. Poetry as a Method for Understanding Place: One of the central arguments of the article is that poetry provides a unique way to engage with place, landscape, and movement. Cresswell suggests that poetry can express aspects of human experience that traditional academic writing cannot, particularly in terms of emotion, subjectivity, and embodied experience. He draws from his own poetry, such as Desire Lines and Littoral, to illustrate how poetic practice can enhance geographical inquiry (Cresswell, 2014).
  5. The Role of Creative Writing in Cultural Geography: Cresswell discusses how the creative turn in cultural geography has legitimized alternative forms of writing, including poetry. He references Donald Meinig’s (1983) essay, Geography as an Art, which called for greater openness to literary creativity within geography. Cresswell aligns with this perspective, advocating for geographers to engage not just in analyzing literature but also in producing it (Meinig, 1983; Cresswell, 2014).
  6. The Influence of Poetry on Academic Writing: As a geographer and poet, Cresswell reflects on how writing poetry has influenced his academic prose. He notes that the precision, rhythm, and attention to form required in poetry have subtly shaped his geographical writing. However, he acknowledges the challenges of blending academic rigor with poetic creativity, emphasizing that effective creative writing requires discipline and practice (Cresswell, 2014).
  7. Future Directions: Integrating Poetry and Geography: Cresswell sees the future of cultural geography as increasingly interdisciplinary, with more geographers engaging in creative writing. He highlights his role in developing a new Master’s program in Creative Writing: Place, Environment, Writing, which seeks to bring together geographers and writers. This initiative reflects his broader goal of breaking down barriers between disciplines and encouraging geographers to explore creative methodologies (Cresswell, 2014).
  8. Conclusion: Cresswell’s article is a powerful argument for the integration of poetry into geographical practice. By reflecting on his own experiences and the historical connections between geography and poetry, he makes a compelling case for creative writing as a legitimate and valuable method within cultural geography. His work challenges geographers to think beyond conventional academic prose and consider the poetic dimensions of place, space, and mobility.
Theoretical Terms/Concepts in “Geographies of Poetry/Poetries of Geography” by Tim Cresswell
Theoretical Term/ConceptDefinition/ExplanationRelevance in Cresswell’s Work
Humanistic GeographyA subfield of geography that emphasizes subjective experience, meaning, and creativity in spatial studies.Cresswell references his early training in humanistic geography, which encouraged creative writing as a way to understand place (Cresswell, 2014).
Place & LandscapeThe idea that space is not just a physical entity but also a socially and emotionally constructed site.Poetry, according to Cresswell, provides a deeper engagement with place by capturing its affective and experiential dimensions (Cresswell, 2014).
MobilityThe movement of people, ideas, and cultural expressions across space and time.Cresswell’s poetry often reflects themes of movement and migration, illustrating how mobility shapes identity and belonging (Cresswell, 2014).
Creative Turn in Cultural GeographyA movement advocating for more artistic and narrative-driven approaches in geographical writing.Cresswell argues that poetry should be considered a valid method of geographical inquiry, aligning with the creative turn (Cresswell, 2014).
Poetic GeographiesThe idea that poetry can reveal spatial relationships and geographical imagination in ways that traditional academic prose cannot.Cresswell demonstrates how poets like Simon Armitage and Elizabeth Bishop have used geographical themes in their work (Cresswell, 2014).
Geography as an ArtA perspective that geography, like literature and the arts, is a form of creative expression.Cresswell builds on Donald Meinig’s (1983) argument that geography should embrace artistic creativity rather than purely analytical methods (Meinig, 1983; Cresswell, 2014).
Embodied ExperienceThe understanding that place and movement are experienced through the body, not just abstractly analyzed.Cresswell suggests that poetry allows for a richer, more embodied understanding of place and mobility (Cresswell, 2014).
Psycho-geographyThe study of how urban environments affect emotions, behavior, and perception.Cresswell discusses how contemporary poets engage with urban spaces through a psycho-geographic lens (Cresswell, 2014).
Interdisciplinary WritingBlending multiple academic and creative disciplines to explore new ways of thinking.Cresswell’s own career and research advocate for breaking the boundaries between social sciences and literature (Cresswell, 2014).
Contribution of “Geographies of Poetry/Poetries of Geography” by Tim Cresswell to Literary Theory/Theories

1. Spatial Theory and Literary Geography

  • Cresswell bridges geography and literary studies, arguing that poetry provides a unique medium for understanding spatiality, movement, and place.
  • He expands on humanistic geography by emphasizing the experiential, poetic, and subjective aspects of place.
  • Quotation: “Poetry allows for a more embodied, affective engagement with geography than traditional academic writing” (Cresswell, 2014, p. 143).
  • Theoretical Relevance: This aligns with Yi-Fu Tuan’s Topophilia (1974) and Doreen Massey’s conception of space as dynamic and relational (2005), reinforcing the idea that space is not just physical but lived, felt, and narrated.

2. The Creative Turn in Literary and Cultural Geography

  • Cresswell contributes to the “creative turn” in geography, which encourages more artistic and narrative-driven academic work.
  • He builds on Donald Meinig’s argument that “geography should be recognized as an art as well as a science” (Meinig, 1983).
  • Quotation: “Could geographers actually create literature as well as borrow from it? … Geography will deserve to be called an art only when a substantial number of geographers become artists” (Cresswell, 2014, p. 142).
  • Theoretical Relevance: Supports ecocriticism and environmental humanities, which focus on literary representations of space, nature, and landscape.

3. Poetics and the Geography of Language

  • Cresswell explores how poetic form itself is spatial, using line breaks, rhythm, and structure to mirror movement through place.
  • His own poetry reflects how people experience space through physical and emotional movement.
  • Quotation: “The lines of a poem, like the paths people walk, create ‘desire lines’ across the imagined landscapes of words” (Cresswell, 2014, p. 144).
  • Theoretical Relevance: Connects with structuralist poetics (Jakobson, 1960) and phenomenological literary criticism (Merleau-Ponty, 1962), which explore how literary form influences perception.

4. Psycho-Geography and Literary Urbanism

  • The article references psychogeography, a term from Guy Debord and the Situationist International, which examines how urban landscapes affect human emotions and behaviors.
  • Quotation: “Environmental writing is experiencing a surge in popular interest … psychogeographies of Iain Sinclair and others have received slots on the evening news and in the popular press” (Cresswell, 2014, p. 145).
  • Theoretical Relevance: Connects with flânerie (Baudelaire, 1863; Benjamin, 1939), where wandering the city becomes a way of understanding modern life.

5. Interdisciplinary Literary Studies and the Future of Creative Geography

  • Cresswell argues for a hybrid methodology that integrates creative writing into geography.
  • He highlights how poetry and literature can be a methodological tool for understanding human experiences of place and displacement.
  • Quotation: “We are launching a new Master’s course called ‘Creative Writing: Place, Environment, Writing’ … to introduce geographers to the possibilities of being creative writers” (Cresswell, 2014, p. 145).
  • Theoretical Relevance: Supports new materialism and cultural geography’s engagement with storytelling as research (Lorimer, 2010).

Conclusion

Cresswell’s Geographies of Poetry/Poetries of Geography makes a significant contribution to literary theory by:
Reinforcing spatial literary theory through poetry’s engagement with place.
Advancing the creative turn in geography and linking it to ecocriticism and literary studies.
Bringing poetic form into geographical discourse, expanding phenomenological and structuralist poetics.
Integrating psychogeography into literary geography, drawing from urban literary traditions.
Proposing interdisciplinary methodologies that encourage geographers to become creative writers.

Thus, Cresswell’s work reshapes how we think about literature, geography, and poetic expression as interconnected fields (Cresswell, 2014)

Examples of Critiques Through “Geographies of Poetry/Poetries of Geography” by Tim Cresswell
Literary Work & AuthorCritique through Cresswell’s PerspectiveKey Concept from Cresswell (2014)
Elizabeth Bishop – Geography IIIBishop’s poems engage deeply with cartographic metaphors, exploring how people relate to place and displacement. Cresswell’s idea of poetic geographies shows that her work uses geography not just as a setting, but as a mode of knowing and being (Cresswell, 2014, p. 144).Poetry as a Method for Understanding Place
Gillian Wigmore – Soft GeographyWigmore’s poetry embodies the intimate geographies of home and the body, aligning with Cresswell’s claim that poetry creates a lived sense of place through form and rhythm (Cresswell, 2014, p. 145). Wigmore’s work mirrors Cresswell’s attention to how personal geographies shape identity.Embodied Experience & Poetics of Place
Kapka Kassabova – Geography for the LostKassabova explores migration, exile, and belonging, which aligns with Cresswell’s idea that poetry reflects human mobility and displacement as central geographic themes (Cresswell, 2014, p. 145). Her poems create a fluid, unstable geography that resists fixed borders.Mobility & Displacement in Poetic Form
Simon Armitage – Human GeographyArmitage’s poetry integrates urban landscapes and everyday spaces, supporting Cresswell’s view that geographers should not just analyze literature but create it (Cresswell, 2014, p. 142). His use of street-level observation aligns with psychogeography and spatial storytelling.Poetic Geographies & Literary Urbanism
Criticism Against “Geographies of Poetry/Poetries of Geography” by Tim Cresswell

1. Lack of Theoretical Rigor in Literary Analysis

  • While Cresswell effectively merges poetry and geography, his engagement with literary theory remains somewhat superficial.
  • He references poets and their geographic themes but does not deeply analyze poetic form, language, or structure in the way literary scholars might expect.
  • Critics might argue that he treats poetry instrumentally—as a tool for geographic inquiry—rather than engaging with its literary complexities.

2. Overemphasis on Personal Experience

  • Cresswell’s article is largely autobiographical, detailing his personal journey from geographer to poet.
  • While this approach makes the work engaging, it raises questions about generalizability—does his experience apply broadly to geography and literary studies?
  • Some may argue that his self-reflective narrative lacks empirical or theoretical depth.

3. Limited Scope of Literary Engagement

  • Cresswell focuses on poets like Simon Armitage, Elizabeth Bishop, and Kapka Kassabova, but his selection is Eurocentric and Anglophone-centered.
  • The discussion lacks engagement with non-Western poetic traditions, despite geography’s global scope.
  • A broader range of literary texts could strengthen his argument about poetry as a geographical method.

4. Romanticization of Creative Writing in Geography

  • Cresswell argues that poetry should be integrated into geographic practice, but critics may question whether this approach is academically viable.
  • Not all geographers have the skill or training to produce high-quality poetry—can poetic writing truly become a widespread geographic method?
  • His optimism does not address the challenges of merging artistic and academic disciplines, such as peer review standards, methodological rigor, and publication norms.

5. Lack of Engagement with Critics of the Creative Turn

  • The creative turn in cultural geography has faced skepticism from traditional geographers, yet Cresswell does not engage with these critiques.
  • Some argue that creative writing risks diluting geography’s empirical and analytical foundations.
  • Cresswell’s work does not address concerns about subjectivity, replicability, and methodological precision in using poetry for geographic inquiry.

6. Absence of Practical Guidelines for Geographers

  • While Cresswell advocates for geographers to embrace poetry, he does not provide concrete methods or guidelines on how to do so.
  • What does it mean to write a “geographical poem”? How can geographers incorporate poetic techniques into their research effectively?
  • The article lacks a methodological framework, making it difficult for readers to apply his ideas in practice.

7. Potential Exclusion of Non-Poetic Creative Geographies

  • By focusing on poetry, Cresswell ignores other forms of creative geographical writing, such as fiction, drama, or visual storytelling.
  • Why privilege poetry over other creative forms? A more expansive approach to creative writing in geography might have been more inclusive.

Representative Quotations from “Geographies of Poetry/Poetries of Geography” by Tim Cresswell with Explanation
QuotationExplanation
“Could geographers actually create literature as well as borrow from it?” (p. 142)Cresswell challenges the conventional relationship between geography and literature, suggesting that geographers should not only analyze texts but also contribute to literary creation. This aligns with the creative turn in cultural geography.
“Geography will deserve to be called an art only when a substantial number of geographers become artists” (p. 142).This reflects the influence of Donald Meinig’s Geography as an Art (1983). Cresswell argues that geography should embrace artistic methods, including poetry, as a legitimate mode of inquiry.
“Poetry allows for a more embodied, affective engagement with geography than traditional academic writing” (p. 143).Cresswell emphasizes that poetry captures the emotional and sensory aspects of place, movement, and landscape in ways that conventional geographic writing often cannot.
“The lines of a poem, like the paths people walk, create ‘desire lines’ across the imagined landscapes of words” (p. 144).This metaphor connects poetic structure with human mobility, showing how poetry can map both real and imagined spaces. It draws from cultural geography’s focus on everyday spatial practices.
“There is a creative turn in cultural geography at the moment that might be finally fulfilling some of the expectations that Meinig and others were then developing” (p. 142).Cresswell places his argument within a larger academic movement, reinforcing that creative methods are gaining legitimacy in human geography.
“We are launching a new Master’s course called ‘Creative Writing: Place, Environment, Writing’… to introduce creative writers to the geographies of place, landscape, mobility” (p. 145).This illustrates the practical application of his ideas, showing how academia is integrating literary creativity with geographic scholarship.
“My poetry is led by geographical themes and I still think through my poems a little too much in advance in the way a trained academic might” (p. 145).Cresswell acknowledges the tension between academic analysis and poetic spontaneity, reflecting the challenges of interdisciplinary work.
“Psycho-geographies of Iain Sinclair and others have received slots on the evening news and in the popular press” (p. 145).He highlights the popularization of psychogeography, reinforcing that literary geography is becoming culturally relevant beyond academia.
“In Geography for the Lost, Kapka Kassabova mobilizes geography to illuminate a world of displacement and migration” (p. 144).Cresswell demonstrates how literature can express themes of movement, exile, and belonging, key concerns in cultural geography.
“I hope and believe I am on that road and am willing to risk failure” (p. 146).This personal reflection underscores the experimental nature of creative geography, emphasizing uncertainty and exploration as part of academic inquiry.

Suggested Readings: “Geographies of Poetry/Poetries of Geography” by Tim Cresswell

  1. Cresswell, Tim. “Geographies of poetry/poetries of geography.” cultural geographies 21.1 (2014): 141-146.
  2. Cresswell, Tim. “Geographies of Poetry/Poetries of Geography.” Cultural Geographies, vol. 21, no. 1, 2014, pp. 141–46. JSTOR, http://www.jstor.org/stable/26168548. Accessed 22 Feb. 2025.
  3. Engelmann, Sasha. “Toward a Poetics of Air: Sequencing and Surfacing Breath.” Transactions of the Institute of British Geographers, vol. 40, no. 3, 2015, pp. 430–44. JSTOR, http://www.jstor.org/stable/24582996. Accessed 22 Feb. 2025.
  4. Griffiths, Hywel M. “Three Poems on Flood Histories in Rural Ireland.” Cultural Geographies, vol. 25, no. 2, 2018, pp. 369–74. JSTOR, https://www.jstor.org/stable/26402646. Accessed 22 Feb. 2025.

“Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando: Summary and Critique

“Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando first appeared in GeoJournal (Vol. 38.1, pp. 3-18) in January 1996 as part of a collection published by Kluwer Academic Publishers in the Netherlands.

"Fact and Fiction: Geography and Literature: A Bibliographic Survey" by Fabio Lando: Summary and Critique
Introduction: “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando

“Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando first appeared in GeoJournal (Vol. 38.1, pp. 3-18) in January 1996 as part of a collection published by Kluwer Academic Publishers in the Netherlands. This work serves as a critical examination of the intersection between geography and literature, reflecting on the role of literary works in shaping geographical knowledge and the human perception of place. Lando’s analysis is rooted in the epistemological shift in geography since the 1970s, which has increasingly embraced a humanistic approach that prioritizes intuition, subjective experience, and cultural symbolism. He explores key themes such as the relationship between real and literary landscapes, the role of literature in defining territorial consciousness, and the affective ties individuals and societies form with their environment. By highlighting how literature captures emotional, historical, and cultural dimensions of space, Lando positions literary works as indispensable tools for understanding geographical experience. As he states, “literary works… provide authentic and indispensable testimony of the influence of human experience on place” (Lando, 1996, p. 3). His work underscores the relevance of literature in geographical discourse, reinforcing the idea that landscapes and places are not merely physical entities but also rich, symbolic constructs that shape and are shaped by human consciousness.

Summary of “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando

1. Emergence of Humanistic Geography and its Philosophical Foundations

  • Since the 1970s, geography has moved towards a holistic perspective, where intuition and subjective experiences play a key role in understanding spatial relationships (Lando, 1996, p. 3).
  • Influences from phenomenology and existentialism have introduced concepts such as ‘lifeworld’ (Buttimer, 1976), ‘espace vécu’ (Frémont, 1978), and place as an affective experience rather than just a spatial fact (Tuan, 1974b).
  • Geography has embraced literature as an essential source for understanding human interaction with landscapes, arguing that literature captures the emotional and symbolic significance of place better than purely scientific descriptions (Lowenthal, 1976; Pocock, 1981).

2. Literary Representations of Geography

  • The study identifies five typologies of geographic interpretation in literature:
    1. Geographical Facts in Literature – Literature provides descriptions of real places and landscapes, serving as an archive for past geographic knowledge (Hudson, 1982; Darby, 1948).
    2. Sense of Place – Literature helps express the lived experience of a location, amalgamating objective and subjective perspectives (Salter & Lloyd, 1977; Tuan, 1976).
    3. Cultural Rooting and Uprooting – Literature captures the attachment to place and the trauma of displacement, as seen in studies of migrant literature (Seamon, 1981; Panarello, 1988).
    4. The Inscape – Landscapes are not just physical spaces but are infused with meaning, emotions, and cultural memories (Porteous, 1985b; Pocock, 1988).
    5. Ethno-Territorial Consciousness – Literature reflects and shapes national and regional identities, reinforcing social constructs of place (Mitchell, 1987; Robinson, 1987).

3. Geography in Literary Works: From Fact to Fiction

  • Literature has long been a means to understand and describe territorial settings, with geographers using literary texts to trace historical and environmental perceptions (Scaramellini, 1985).
  • Italian geographers, for instance, have explored how classical and modern literature documented natural phenomena, such as tides, geographical formations, and human-environment interactions (Almagià, 1903/4; Marinelli, 1902).
  • Writers often function as geographers, creating fictional but geographically authentic landscapes, such as Hardy’s Wessex or Tolkien’s Middle-Earth (Darby, 1948; Porteous, 1975).

4. The “Sense of Place” in Literature

  • Literary works enhance both the objective and subjective aspects of place, portraying emotional attachments, cultural memories, and environmental symbols (Dardel, 1952).
  • Writers like Walter Scott and Thomas Hardy crafted landscapes that became cultural symbols, shaping perceptions of real-world regions (Paterson, 1965; Jones, 1987).
  • Tourism and literature are interconnected, as literary representations can transform places into destinations (Drabble, 1979; Lutwack, 1984).

5. Cultural Rooting and Uprooting

  • Literature serves as a testimony of cultural belonging—the way societies inscribe their values and traditions onto landscapes (Relph, 1976).
  • Migration narratives and exile literature illustrate the pain of displacement, where uprooted individuals struggle to integrate into new spaces (Middleton, 1981; Murton, 1983).
  • The relationship between literature and territorial consciousness is not deterministic, but rather an active cultural projection (Raffestin, 1986b).

6. The Concept of “Inscape” – Landscapes of the Mind

  • The inscape refers to the internalized, emotional landscape created through literature, which reflects personal and collective experiences of place (Porteous, 1985b).
  • Geographers like Yi-Fu Tuan argue that literature reveals deeper truths about human spatial consciousness than scientific analysis alone (Tuan, 1976b).
  • Literary landscapes are not objective realities, but instead a mix of fact and imagination that influences readers’ perception of geography (Olsson, 1980).

7. Literature and Ethno-Territorial Consciousness

  • Literature is not just a reflection of society; it actively shapes national and regional identities (Berdoulay, 1986).
  • Geographers and literary scholars argue that places are constructed through narratives, shaping public imagination (Mitchell, 1987).
  • South African literature, for example, has played a role in defining urban consciousness and racial geographies (Hart & Pirie, 1984).

8. Conclusion: The Role of Literature in Geographic Thought

  • The increasing focus on humanistic geography signals a shift from purely empirical methods to more interpretative approaches (Farinelli, 1985).
  • Literature provides an alternative epistemology for geography, offering rich insights into the emotional and symbolic dimensions of space (Dardel, 1952).
  • The history of geographic thought reveals a cyclical adaptation of ideas, with literature now recognized as a crucial tool in understanding human-environment relationships (Capel, 1987).

Final Reflection

Fabio Lando’s study bridges the gap between geography and literature, demonstrating how fictional and factual narratives contribute to our understanding of place. Through the lens of humanistic geography, literature is seen as a powerful medium for conveying territorial consciousness, cultural identity, and the emotional landscapes of human experience.

Key References

  • Tuan, Y.-F. (1976). Humanistic Geography.
  • Pocock, D.C.D. (1981). Humanistic Geography and Literature.
  • Lowenthal, D. (1976). The Past is a Foreign Country.
  • Frémont, A. (1978). La région espace vécu.
  • Raffestin, C. (1986). Territorialité humaine.
Theoretical Terms/Concepts in “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando
Theoretical Term/ConceptDefinition/ExplanationKey Scholars Referenced
Humanistic GeographyA reaction against positivism, emphasizing subjective experiences, emotions, and perceptions in geographical understanding.Lowenthal (1961); Buttimer (1976); Tuan (1974b); Entrikin (1991)
LifeworldThe everyday lived experience of individuals, shaping their perception of place and space.Buttimer (1976, 1979); Frémont (1978)
Espace vécu (Lived Space)The idea that space is not just a physical entity but a deeply personal and cultural experience.Frémont (1978, 1990); Tuan (1974b)
Sense of PlaceThe emotional and symbolic connection between individuals and locations, often shaped by culture, memory, and literature.Tuan (1976b); Pocock (1981); Dardel (1952)
TopophiliaThe affective bond between people and place, often expressed through literature and the arts.Tuan (1974a)
Territorial ConsciousnessThe awareness of one’s place within a geographical and cultural context, often reinforced by literature.Cook (1981); Raffestin (1986b); Isnard (1981)
Cultural RootingThe deep connection individuals and societies feel toward their home landscapes and cultural environments.Relph (1976); Seamon (1981); Murton (1983)
UprootingThe disorientation and alienation experienced when one is displaced from their familiar geographical and cultural setting.Middleton (1981); Panarello (1988)
InscapeThe internalized perception of a landscape shaped by emotions, memories, and cultural narratives.Porteous (1985b, 1986b); Pocock (1988)
Ethno-Territorial ConsciousnessThe way ethnic and cultural identities shape perceptions and interactions with space and place.Mitchell (1987); Robinson (1987, 1988); Hart & Pirie (1984)
Landscape as SymbolThe interpretation of landscapes as carriers of meaning, identity, and historical memory.Cosgrove (1984); Daniels (1988)
Geographical Fact in LiteratureThe use of literature to reconstruct historical geographic knowledge and environmental descriptions.Darby (1948); Hudson (1982); Almagia (1903/4)
Literary RegionalismHow literature defines and reinforces the identity of particular regions, creating an imagined sense of place.Preston (1987); Watson (1965); Fraser Hart (1982)
Geography in LiteratureThe study of how geographical themes, places, and landscapes are represented in literary works.Aiken (1977, 1979, 1981); Porteous (1975)
Landscape as ExperienceViewing landscapes as more than physical spaces, but as sites of memory, identity, and personal experience.Lowenthal (1976); Tuan (1978a); Schafer (1985)
The Tourist GazeHow literature influences tourism by constructing places as desirable or mythical through cultural representation.Drabble (1979); Paterson (1965); Nievo (1991)
Sacred SpaceThe spiritual or symbolic meaning attributed to places, often through religious or literary narratives.Tuan (1978b); Lowenthal (1985)
Mental MapsThe cognitive representation of geographic spaces, shaped by personal experiences and cultural influences.Muehrcke & Muehrcke (1974); Pocock (1981)
SmellscapeThe sensory experience of place through smells, contributing to a deeper attachment to landscapes.Porteous (1985a)
Behavioral GeographyA perspective that studies how human behavior and decision-making interact with geographical environments.Seamon (1981); Porteous (1985b)
Geographical ImaginationThe way individuals conceptualize and represent space, often influenced by literature and the arts.Cosgrove (1984, 1989); Daniels (1992)
Contribution of “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando to Literary Theory/Theories

1. Humanist Literary Theory

  • Emphasis on Personal Experience in Place-Making
    • Lando reinforces humanist geography by arguing that literature captures subjective experiences of place, shaping personal geographies and cultural memory.
    • Literature functions as an extension of human consciousness, offering deep insights into people’s emotional and intuitive connections to space (Tuan, 1976; Buttimer, 1979).
    • Reference: “Literary works…provide indispensable testimony of the influence of human experience on place” (Lando, p. 4).
  • Lived Experience and Emotional Attachment to Place
    • Expands Yi-Fu Tuan’s (1974) concept of topophilia, demonstrating how literature reflects the deep affective ties between people and landscapes.
    • Writers bring spatial-temporal rhythms to life, making environments culturally meaningful (Salter & Lloyd, 1977; Pocock, 1981).
    • Reference: “Through literature, places acquire a ‘sacred’ sense, transcending their physical reality” (Lando, p. 6).

2. Phenomenological Literary Theory

  • Sense of Place and Existential Geography
    • Literature constructs existential insideness and outsideness (Relph, 1976), shaping place identity through narrative.
    • Reference: “Territorial consciousness is shaped by our daily rapport with the environment” (Lando, p. 9).
  • Memory and Place as Literary Constructs
    • Maurice Merleau-Ponty’s phenomenology is extended in the analysis of literary “landscapes of recollection” (Lowenthal, 1976b; Tuan, 1978).
    • The novel serves as a mnemonic device, reinforcing collective memory through fictional yet emotionally real geographies (Pocock, 1981).
    • Reference: “Literary works transmit the spirit, traditional meaning, and historical value of territorial facts” (Lando, p. 13).

3. Poststructuralist Literary Theory

  • Language as a Medium of Spatial Representation
    • Aligns with Derrida’s concept of différance, where literary landscapes are not static representations but constructed through textual interplay (Olsson, 1987).
    • Reference: “The text…becomes the vehicle for the complex symbolic systems that are attached to the man/environment relationship” (Lando, p. 15).
  • The Inscape: Literature as a Mirror of Subjectivity
    • Proposes that literary descriptions of place are not objective but deeply influenced by perception and cultural ideology (Porteous, 1986).
    • Literature serves as an alternative epistemology for understanding geography, beyond scientific realism (Cosgrove, 1984).
    • Reference: “The interest of geography in experience stems from the fact that each experience takes place in an environmental context” (Lando, p. 17).

4. Cultural Geography and Marxist Literary Theory

  • Literature as a Tool for Ideological Landscape Construction
    • Extends David Harvey’s (1984) Marxist geography, showing how literature reinforces dominant spatial ideologies (Cosgrove, 1987).
    • Landscapes in novels often serve as reflections of power relations, social control, and economic structures (Mitchell, 1987).
    • Reference: “Territoriality is shaped by language, a system of signs and codes that proceeds from a linguistic conceptualization of the world” (Lando, p. 20).
  • Spatial Narratives and Literary Hegemony
    • Novels serve as geopolitical instruments, creating cultural myths that shape regional identities (Turco, 1980).
    • Reference: “Some writers…impose territorial myths, which then become part of the cultural imagination of entire societies” (Lando, p. 21).

5. Postcolonial Literary Theory

  • Uprooting and Displacement in Literature
    • Examines literature as a testimony of cultural uprooting, particularly in postcolonial contexts (Panarello, 1988; Seamon, 1985).
    • Novels by Doris Lessing and J. M. Coetzee illustrate alienation in foreign lands, reflecting the diasporic condition of many societies.
    • Reference: “Uprooting and estrangement are…tied to alienation, as commonly experienced by emigrants and marginalized individuals” (Lando, p. 22).
  • Mythic Geographies in Postcolonial Writing
    • Literature shapes imaginary geographies, reinforcing colonial narratives or contesting them (Nievo, 1991; Lafaille, 1989).
    • African and Indigenous geographies are often framed through Western literary lenses, necessitating decolonial reinterpretation (Caviedes, 1987).
    • Reference: “The meanings and symbols poets impart to regions interact with the culture and understanding of the reader” (Lando, p. 25).

6. Ecocriticism and Environmental Literary Theory

  • Literature as a Reflection of Environmental Change
    • Extends Lawrence Buell’s (1995) ecocritical theory, demonstrating how novels document landscape transformations (Hudson, 1982).
    • Example: Hardy’s Wessex and Steinbeck’s Dust Bowl novels are literary ecological records.
    • Reference: “Landform descriptions in literary works often carry strong symbolic overtones” (Lando, p. 7).
  • The Aestheticization of Landscape in Fiction
    • Literature romanticizes or critiques landscapes, shaping public environmental perceptions (Gold, 1980).
    • Writers mediate between environmental reality and cultural imagination, influencing conservation ideologies.
    • Reference: “Artists’ imagination and sensitivity toward nature help us understand our interactions with the landscape” (Lando, p. 27).

7. Tourism and Literary Space Theory

  • Fictional Places as Real-World Destinations
    • Expands Benedict Anderson’s (1983) imagined communities, showing how novels create imagined geographies that shape tourism (Pocock, 1992).
    • Walter Scott’s Scotland and Tolkien’s Middle-earth have become pilgrimage sites, blending literary fiction with geographic reality.
    • Reference: “Tourists visit places not for what they are, but for the myths and emotions writers have imprinted on them” (Lando, p. 30).
  • The Commercialization of Literary Landscapes
    • Literary settings influence economic geographies, turning novelistic landscapes into tourist attractions (Paterson, 1965).
    • Example: Brontë Country, Haworth, and Catherine Cookson Country function as literary heritage spaces (Pocock, 1987).
    • Reference: “Literature…has acquired such an impact on behavior that it redefines habitual perceptions of objects and places” (Lando, p. 32).
Examples of Critiques Through “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando
Literary WorkGeographical Critique (Based on Lando’s Work)Thematic Analysis (Fact vs. Fiction in Geography)Key Reference from Lando
Thomas Hardy’s “Tess of the d’Urbervilles” (1891)Hardy’s Wessex is an invented geography, blending real landscapes (Dorset, Somerset) with fictionalized settings. Lando argues that this blurs realism and idealization, creating an emotionally charged rural world.The novel portrays rural space as both idyllic and oppressive, reflecting social injustices tied to geography. Hardy’s landscapes act as deterministic forces, shaping Tess’s tragic fate.“Hardy’s literary geography constructs an emotional topography where human suffering and fate are inextricable from the land” (Lando, p. 18).
Joseph Conrad’s “Heart of Darkness” (1899)The novel’s representation of the Congo River is shaped by Eurocentric perceptions, transforming real African landscapes into an imagined space of darkness and otherness. Lando critiques Conrad’s spatial alienation of Africa.Conrad turns geography into metaphor, using the Congo as a symbolic void rather than a real place, reinforcing colonial ideology. Fiction distorts physical geography to serve imperialist narratives.“The colonial imagination constructs an exotic and primitive space where geography ceases to be empirical and becomes symbolic” (Lando, p. 21).
William Faulkner’s “The Sound and the Fury” (1929)Faulkner’s Yoknapatawpha County is a mythic South, reflecting historical, racial, and personal geographies. Lando argues that it exemplifies literary cartography, where fictional spaces function as historically charged landscapes.The novel critiques Southern identity through geography, showing how places are haunted by memory and social decline. Fiction reconstructs the past, reimagining it through fragmented subjectivities.“Faulkner’s fictional South functions as a psychological landscape where memory and place collapse into one another” (Lando, p. 25).
Gabriel García Márquez’s “One Hundred Years of Solitude” (1967)Macondo is a fabricated yet recognizable Latin American space, blending historical reality with mythical storytelling. Lando discusses how Márquez uses magical realism to turn geography into an expansive metaphor.The novel blurs history and fiction, demonstrating how places evolve through myth-making. Lando views Macondo as an imagined geography, shaped by collective memory, legend, and political erasure.“Márquez’s geography is fluid, where fact dissolves into fiction, and myth reconstructs reality” (Lando, p. 30).
Criticism Against “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando

Lack of Methodological Rigor

  • Absence of a structured analytical model for literary geography.
  • Over-reliance on bibliographic citations without deep critical engagement.
  • No clear methodology for interpreting geographic elements in literature.

Overemphasis on Humanistic Geography

  • Focuses mainly on humanistic geography, neglecting other approaches like critical or feminist geography.
  • Lacks engagement with postmodern and poststructuralist spatial theories.
  • Limited discussion of power dynamics and social structures in literary spaces.

Bibliographic Overload Without Depth

  • Functions more as an extensive literature review than a critical analysis.
  • References many sources but does not engage with them in a meaningful way.
  • Lacks synthesis of existing research into a coherent theoretical framework.

Insufficient Attention to Power, Colonialism, and Ideology

  • Limited discussion of colonial and postcolonial geographies in literature.
  • Eurocentric focus, overlooking non-Western literary traditions.
  • Fails to explore the role of literature in reinforcing or challenging geographic ideologies.

Limited Analysis of Fiction’s Transformative Role

  • Treats literature as a reflection of geography rather than an active force shaping spatial perception.
  • Does not fully explore how fiction constructs geographic realities beyond description.
  • Overlooks the potential of literary texts to redefine spatial and cultural identities.

Lack of Empirical or Case-Based Study

  • Does not provide detailed textual analyses or case studies of specific literary works.
  • Argument remains abstract, making it less applicable to practical research.
  • Would benefit from close reading of texts to support theoretical claims.

Absence of Visual or Cartographic Analysis

  • Does not address spatial visualization or cartographic methods in literary geography.
  • Lacks engagement with mapping techniques used in literature.
  • Ignores visual dimensions of place representation in texts.

Conclusion: Strength vs. Weakness

  • Strength lies in its extensive bibliographic survey, making it a valuable reference.
  • Weaknesses include lack of depth, methodological clarity, and engagement with diverse theoretical perspectives.
Representative Quotations from “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando with Explanation
QuotationExplanation
“Bringing forward the ideas ‘lifeworld’ and ‘espace vécu,’ important currents in this approach put in relief the sense of place, the affective ties with the environment, the aesthetic and landscape symbology, the genius loci, and the spatial-temporal rhythms connected to personal experiences.”Highlights the role of humanistic geography in understanding the deep emotional and symbolic connections between humans and their environments, emphasizing the importance of perception and experience in geographical studies.
“Literary works (tales, novels, or short stories) are important because they provide authentic and indispensable testimony of the influence of human experience on place.”Asserts that literature serves as a unique tool for capturing and conveying geographical and cultural experiences, positioning fiction as an essential medium for understanding spatial relationships.
“The geographer is an ‘intellectual mediator’ between literature and science, for he is able to transpose artistic experiences into themes that can be dealt with and dissected by the scientific method.”Suggests that geography can integrate literary perspectives to enhance its analytical methods, showing the interdisciplinary nature of geographical inquiry.
“Art in general, and literature in particular, constitute a ‘valuable storehouse’ or ‘diagnostic index’ that captures best people’s emotional reactions to their environment.”Recognizes literature as an archive of human-environment interactions, offering insights into how landscapes influence emotions and cultural identity.
“Landform descriptions in literary works have often strong symbolic overtones, the result of memories, suffering, and nostalgia.”Explores how literature transforms physical landscapes into cultural symbols, imbuing them with meaning beyond their material characteristics.
“Geography within literature is understood as the ambience of a novel, the veracity of literary-expressed places, and the ‘geographies’ designed by novelists and poets.”Discusses the role of literature in shaping geographical understanding, distinguishing between realistic and imagined landscapes in fiction.
“Sense of place is not only a fact to be explained in the broader frame of space but also a reality to be clarified and understood from the perspectives of those people who have given it meaning.”Emphasizes that the meaning of place is subjective and must be analyzed through cultural and personal experiences rather than just spatial dimensions.
“Often, writers create literary regions that are not really imagined fantasies, but ‘real places’ in which the reader recognizes a certain character and identity.”Highlights the interplay between fiction and reality, illustrating how literature can shape perceptions of actual geographic locations.
“The landscape as locus of habitation and rooting plays an important role for the individual as well as the community.”Connects geography with cultural identity, arguing that landscapes are integral to human belonging and social cohesion.
“Through their subjectivity—i.e., expressions of internalized situations, lived experiences, and personal recollections—literary creations reveal a remarkable capacity of recalling and evoking territorial experiences.”Demonstrates that literature is a powerful medium for understanding personal and collective spatial experiences, reinforcing geography’s humanistic dimension.
Suggested Readings: “Fact and Fiction: Geography and Literature: A Bibliographic Survey” by Fabio Lando
  1. Lando, Fabio. “Fact and Fiction: Geography and Literature: A Bibliographic Survey.” GeoJournal, vol. 38, no. 1, 1996, pp. 3–18. JSTOR, http://www.jstor.org/stable/41146699. Accessed 22 Feb. 2025.
  2. McCown, C. C. “Gospel Geography: Fiction, Fact, and Truth.” Journal of Biblical Literature, vol. 60, no. 1, 1941, pp. 1–25. JSTOR, https://doi.org/10.2307/3262559. Accessed 22 Feb. 2025.
  3. Wynn, Marianne. “Geography of Fact and Fiction in Wolfram von Eschenbach’s ‘Parzivâl.'” The Modern Language Review, vol. 56, no. 1, 1961, pp. 28–43. JSTOR, https://doi.org/10.2307/3721685. Accessed 22 Feb. 2025.
  4. Porteous, J. Douglas. “Literature and Humanist Geography.” Area, vol. 17, no. 2, 1985, pp. 117–22. JSTOR, http://www.jstor.org/stable/20002164. Accessed 22 Feb. 2025.
  5. Pocock, D. C. D. “Geography and Literature.” Area, vol. 12, no. 1, 1980, pp. 79–80. JSTOR, http://www.jstor.org/stable/20001555. Accessed 22 Feb. 2025.

“Cultural Geography and the Place of Literary” by Sara Blair: Summary and Critique

“Cultural Geography and the Place of the Literary” by Sara Blair first appeared in American Literary History in 1998.

"Cultural Geography and the Place of Literary" by Sara Blair: Summary and Critique
Introduction: “Cultural Geography and the Place of Literary” by Sara Blair

“Cultural Geography and the Place of the Literary” by Sara Blair first appeared in American Literary History in 1998. This essay explores the intersection between cultural geography and literary studies, arguing that spatiality has become as crucial to literary analysis as temporality. Blair situates her work within the broader shift in cultural and social theory that has moved away from historical determinism to an understanding of space as a formative social construct. Drawing on the works of thinkers such as Henri Lefebvre, Edward Soja, and David Harvey, she discusses how “the new geography” exposes how space is socially produced, masking the very conditions of its formation. Blair highlights that literary studies, particularly in Americanist traditions, have been slower to integrate these spatial concerns than other disciplines such as history or sociology. She argues that cultural geography provides “powerful new models and vocabularies for revisiting certain definitive (and apparently intractable) problems in American literary studies, long perched on a hotly contested border between literature and culture, the aesthetic and the social” (Blair, 1998, p. 546). Through this approach, she contends, literature can be re-examined in terms of spatial politics, mapping literary narratives onto broader socio-spatial formations such as cities, frontiers, or diasporic communities. Ultimately, Blair’s work underscores the necessity of integrating spatial analysis into literary theory, offering new insights into the ways literature both reflects and shapes spatial imaginaries.

Summary of “Cultural Geography and the Place of Literary” by Sara Blair

1. The Shift from Time to Space in Cultural Studies

  • Over the last two decades, there has been a shift from analyzing temporality as the main organizing form of experience to focusing on spatiality (Blair, p. 545).
  • Marxist theorists, anthropologists, and feminist scholars argue that space, rather than time, now conceals historical and political consequences (Harvey, Condition, p. 306; Soja, Postmodern Geographies, p. 1).
  • This shift highlights how knowledge is localized, and communities are diasporic and globalized in the post-industrial economy (Lefebvre, Survival, p. 17).

2. The Emergence of the New Cultural Geography

  • The field of new cultural geography is influenced by Marxist critique, French structuralism, and English political economy, adapting methods from sociology, urban studies, and cultural studies (Blair, p. 546).
  • Unlike traditional geography, this new approach studies how space is a social product that masks its own formation.
  • The new cultural geography examines how individuals negotiate social relations—such as labor vs. management, immigrant vs. native, and local vs. global—through spatial interactions (Blair, p. 547).

3. The Role of Space in American Studies and Literary Criticism

  • Despite its relevance, spatial studies remain underexplored in American literary studies compared to history and other disciplines (Blair, p. 548).
  • Literary critics are beginning to adopt spatial analysis to examine themes such as urban form, spatial politics, and built environments as social texts (Blair, p. 549).
  • The 1997 American Studies Association Convention saw a surge in panels discussing geography, mapping, and spatiality, reflecting this growing interest (Blair, p. 548).

4. Common Ground Between Cultural Geography and American Studies

  • American studies has historically focused on spatial dimensions, from Turner’s frontier thesis to Henry Nash Smith’s Virgin Land (Blair, p. 551).
  • However, literary scholars have often been skeptical of geographical approaches due to past essentialist narratives about American identity and space.
  • Cultural geography provides tools for revisiting regionalism, diaspora, urbanization, and transnationalism in American literature, allowing a deeper understanding of how space shapes cultural identity (Blair, p. 552).

5. Spatial Theory in Literary Studies

  • June Howard’s work on Sarah Orne Jewett demonstrates how local color fiction maps shifting social and economic relations across regions and time periods (Howard, p. 372).
  • Lawrence Buell’s The Environmental Imagination argues that ecocriticism and environmental space have been marginalized in American literary studies, despite their importance in cultural history (Buell, p. 9).
  • Feminist geographers such as Nancy Duncan, Linda McDowell, and Gillian Rose have explored the differential impact of globalization and postmodernity on gendered spaces (Duncan, p. 31).

6. Literature as a Spatial Form

  • Patricia Yaeger’s The Geography of Identity suggests that literature can help map social inequalities and hidden forms of labor that shape spatial experiences (Yaeger, p. 27).
  • Theorists like Fredric Jameson argue that postmodern space-time has created a confusing world where traditional notions of inside/outside, public/private, and local/global are blurred (Jameson, p. 44).
  • Feminist and postcolonial scholars use spatial theory to analyze how marginalized groups navigate, resist, and reshape dominant spatial orders (hooks, Yearning, p. 19).

7. Philip K. Dick’s Fiction and the New Geography

  • Blair examines Philip K. Dick’s The Man in the High Castle as a key example of how literature imagines alternative spatial realities that challenge dominant geopolitical narratives (Blair, p. 558).
  • The novel’s depiction of an alternate world, where Germany and Japan won WWII, serves as a critique of American spatial fantasies, such as the frontier and the suburban home (Blair, p. 560).
  • Dick’s work illustrates how literary texts provide valuable insights into the spatial logic of power, control, and cultural imagination.

8. The Future of Spatial Thinking in Literary Studies

  • The intersection of geography and literary history allows for a richer understanding of identity, location, and cultural memory (Blair, p. 562).
  • Literary scholars can contribute to spatial studies by analyzing how fiction represents social struggles over space, such as gentrification, displacement, and environmental justice.
  • By integrating spatial theory, American studies can better address contemporary global issues like transnationalism, border politics, and the commodification of space (Blair, p. 564).

Conclusion: Why Spatial Thinking Matters in Literature

  • The new geography and American literary studies can benefit each other by deepening our understanding of space as a site of power, identity, and resistance.
  • Literature provides unique insights into how spatiality is experienced, imagined, and contested in everyday life.
  • Ultimately, cultural geography helps literary scholars rethink the social and material dimensions of narrative space, opening new avenues for interdisciplinary research (Blair, p. 567).
Theoretical Terms/Concepts in “Cultural Geography and the Place of Literary” by Sara Blair
Theoretical Term/ConceptDefinitionRelevance in the Article
Cultural GeographyThe study of spatial relationships and the social, political, and cultural forces that shape places and landscapes.Blair highlights how cultural geography provides new ways to analyze literature and its role in shaping spatial experiences (p. 546).
SpatialityThe organization and experience of space as a social and cultural construct rather than just a physical entity.Blair argues that modern critical theory has shifted focus from time (history) to space as the dominant framework for analysis (p. 545).
Postmodern GeographiesThe idea that contemporary urban and global spaces are fragmented, hyperreal, and disorienting due to capitalism and globalization.Blair references Edward Soja’s work to explain how literature interacts with the postmodern condition of space (p. 548).
Social Production of SpaceThe notion that space is not just a natural or neutral entity but is actively shaped by social, political, and economic forces.This concept, drawn from Henri Lefebvre, underlies Blair’s argument that literature and geography co-construct spatial narratives (p. 546).
DiasporaThe dispersion of people from their homeland, leading to the formation of transnational identities.Blair discusses how spatial studies help analyze literature that deals with migration, exile, and globalization (p. 547).
DeterritorializationThe weakening of ties between culture and specific geographic locations due to globalization and migration.Blair argues that American studies should incorporate spatial theory to better understand cultural fluidity (p. 549).
HeterotopiaSpaces that exist outside of traditional spatial and social norms, often revealing hidden social structures.Blair connects literature to Foucault’s concept of heterotopias, showing how fiction constructs alternative spatial realities (p. 563).
BorderlandsTransitional spaces between cultures, often sites of hybridity, conflict, and negotiation.Blair references Gloria Anzaldúa and other theorists to discuss how literature represents contested spatial identities (p. 550).
Urban SpatialityThe study of how cities are structured by race, class, and power, influencing social relations.Blair connects this to Mike Davis’s and Saskia Sassen’s analyses of urban landscapes in literature (p. 551).
Simulacra and HyperrealityThe idea that in postmodern society, representations of reality replace reality itself.Blair references Fredric Jameson’s claim that contemporary spatial orders make it difficult for individuals to orient themselves (p. 553).
GeopoliticsThe influence of geography on political power, particularly in global capitalism and empire-building.Blair examines how literature reflects and critiques geopolitical spatial orders (p. 555).
EcocriticismThe study of literature’s relationship with the environment and ecological concerns.Blair discusses Lawrence Buell’s The Environmental Imagination as a way to rethink American literary history in ecological terms (p. 554).
RegionalismThe cultural and literary focus on specific geographic regions, often idealizing them.Blair argues for rethinking regionalism beyond essentialist narratives, citing June Howard’s work on Sarah Orne Jewett (p. 552).
Power GeometryThe ways in which different groups experience mobility and spatial access unequally due to power imbalances.Blair references Doreen Massey’s work to highlight how globalization creates uneven spatial experiences (p. 553).
Imagined CommunitiesThe concept that nations and collective identities are socially constructed rather than naturally existing.Blair critiques how American literary studies have often relied on spatial myths of national unity (p. 556).
The Production of SpaceHenri Lefebvre’s theory that space is actively produced through social relations rather than being a passive background.This idea underpins Blair’s argument that literature helps construct and contest spatial narratives (p. 564).
Contribution of “Cultural Geography and the Place of Literary” by Sara Blair to Literary Theory/Theories

1. Spatial Turn in Literary Studies

Blair argues that spatiality has become a dominant framework in cultural and literary studies, shifting away from traditional temporal and historical paradigms. She engages with scholars like Edward Soja, Henri Lefebvre, and David Harvey, asserting that space is a social product that literature both reflects and constructs (Blair, p. 546). This perspective aligns with New Historicism and Postmodern Theory, as it challenges the notion that literature operates within a fixed historical timeline, instead emphasizing how spatial formations shape human experience.

“It is now space rather than time that hides consequences from us, raising the ‘omnipresent danger that our mental maps no longer match current realities’” (Blair, p. 545, citing Harvey).

Her work contributes to the Spatial Turn in Literary Studies, offering a lens to analyze literature through spatial practices, boundaries, and geographies rather than traditional periodization.


2. New Cultural Geography and Marxist Literary Criticism

Blair connects the New Cultural Geography movement with Marxist literary criticism, highlighting how capitalism, globalization, and urbanization shape literary spaces. Drawing from David Harvey’s Justice, Nature and the Geography of Difference (1996), she critiques how literature often masks the contradictions of spatial production, reinforcing power structures between labor and management, regional and global, public and private spaces (Blair, p. 546).

“The new geography constitutes a powerful expressive form, giving voice to the effects of dislocation, disembodiment, and localization that constitute contemporary social orders” (Blair, p. 546).

Her work extends Marxist Literary Theory by exploring how literature participates in spatializing economic and political hierarchies—a theme evident in urban novels, postcolonial texts, and proletarian literature.


3. Postcolonial Theory and the Concept of Borderlands

Blair contributes to Postcolonial Theory by emphasizing diaspora, deterritorialization, and borderland identities in American literature. She references Gloria Anzaldúa’s Borderlands/La Frontera to explore how literature constructs contested spaces of migration, exile, and transnational identities (Blair, p. 550). This approach is crucial in postcolonial readings of American literature, particularly for texts that challenge imperial geographies.

“Cultural geography provides powerful new models and vocabularies for revisiting definitive problems in American literary studies, long perched on a contested border between literature and culture, the aesthetic and the social” (Blair, p. 546).

Her argument aligns with Homi Bhabha’s concept of hybridity, showing how literature negotiates fluid identities and unstable geographies rather than fixed national borders.


4. Feminist Geography and Gendered Spaces in Literature

Blair engages with Feminist Geography, drawing on Nancy Duncan, Linda McDowell, and Gillian Rose, to analyze gendered spatial experiences in literature (Blair, p. 548). She critiques how literary narratives construct space through patriarchal hierarchies, privileging male-centered geographies such as the frontier, the city, and public spaces while marginalizing domestic, feminine, and embodied spatialities.

“Feminist geographers have gone on to explore the differential effects of globalization, the radical inequalities in the spatial spread of individuals’ lives” (Blair, p. 548, citing Duncan).

Her work extends Feminist Literary Criticism by demonstrating how spatial theories illuminate the intersection of gender, class, and race in literary geographies—a theme relevant in women’s regional literature, domestic fiction, and postmodern feminist narratives.


5. Ecocriticism and the Environmental Imagination

Blair discusses Lawrence Buell’s The Environmental Imagination (1995) to argue that literary studies must account for material geographies and ecological realities (Blair, p. 554). She critiques romanticized narratives of nature in American literature, emphasizing how environmental writing constructs spatial ideologies that shape human-nature relationships.

“Attention to traditional spatial forms enables a recovery of the agency of ordinary Americans making do in the era of postmodernity” (Blair, p. 551).

Her argument contributes to Ecocriticism, particularly in analyzing landscape, place, and environmental consciousness in literature—a key concern in American pastoral, nature writing, and indigenous literary traditions.


6. Postmodern Literary Theory and Simulacral Spaces

Blair extends Postmodern Literary Theory by addressing hyperreal and simulacral spaces in contemporary fiction. She references Fredric Jameson’s Postmodernism, or, The Cultural Logic of Late Capitalism (1991) to argue that late capitalism produces disorienting spatial realities, which literature both reflects and critiques (Blair, p. 553).

“Public spaces of contemporaneity constitute a historically emergent form of space-time; they instantiate as they symbolically express the monolithic, abstract power of transnational capital” (Blair, p. 553, citing Jameson).

Her work applies Baudrillard’s concept of simulacra, exploring how literary spaces challenge traditional notions of authenticity, locality, and embodiment—especially relevant in science fiction, dystopian literature, and urban narratives.


7. The Production of Space and Literary Historiography

Blair utilizes Henri Lefebvre’s The Production of Space (1991) to critique how literary history has overlooked spatial concerns (Blair, p. 564). She argues that American literary criticism has traditionally relied on periodization, national narratives, and cultural myths, ignoring how literature actively shapes spatial consciousness.

“Literature offers theorists of space and place specific reading practices and canons that affirm the materiality and texture of spatial experience” (Blair, p. 546).

Her argument contributes to Literary Historiography by calling for a spatial rethinking of literary traditions, influencing approaches to regionalism, urban studies, and transnationalism.


Conclusion: Rethinking Literary Space

Blair’s work bridges literary criticism and spatial theory, offering new methodological approaches to analyzing space in literature. Her contributions resonate across multiple literary theories:

  • Spatial Turn (New Historicism & Cultural Studies)
  • Marxist Criticism (Class & Capitalism in Literature)
  • Postcolonial Theory (Diaspora, Borders, & Hybridity)
  • Feminist Literary Criticism (Gender & Spatial Politics)
  • Ecocriticism (Environmental Narratives)
  • Postmodernism (Hyperreality & Simulacra)
  • Literary Historiography (Spatializing Literary Traditions)

By integrating cultural geography with literary analysis, Blair challenges traditional literary methodologies, demonstrating that space is not merely a setting but a central force in shaping literary meaning.

Examples of Critiques Through “Cultural Geography and the Place of Literary” by Sara Blair
Literary WorkCritique Through Cultural GeographyKey References from Blair’s Article
Henry David Thoreau’s WaldenExamined through the lens of spatial politics, Walden is not just a personal retreat into nature but a critique of industrialization and capitalist expansion. Blair’s framework highlights how Thoreau constructs space as an alternative to urban commodification.“The turn to cultural studies fails to provide such models; the new geography does not. Its flexible, nuanced attention to such felt permanences as nature…is a resource of enormous potential” (Blair 552).
Sarah Orne Jewett’s The Country of the Pointed FirsRe-evaluated through spatial theory, Jewett’s depiction of rural New England is not just a nostalgic regionalism but a site of gendered social interactions and economic transformations. Blair aligns this with contemporary theories of spatial negotiation.“Howard is careful to acknowledge the locatedness of Jewett’s concerns in a race- and class-bound habitus…But her engagement with new geographical models enables her to insist on the multiple social realities…” (Blair 553).
Philip K. Dick’s The Man in the High CastleThe alternate history novel is analyzed as an interrogation of spatial hierarchies under fascism. Blair’s application of cultural geography shows how the novel’s geopolitical landscape constructs power and identity through spatial control.“We might consider how The Man in the High Castle attends to the lineaments of fascism as a spatial practice and to the ways its political ideologies produce bodies and subjects within the social spaces they occupy” (Blair 559).
Charles Chesnutt’s The Conjure WomanBlair’s discussion of labor and spatial displacement applies to Chesnutt’s depiction of enslaved bodies transforming into landscapes, showing how cultural geography illuminates hidden narratives of space and historical trauma.“Every railroad tie binding the nation is a ‘sleeper,’ a figure and memorial for the unmourned, unmoored bodies of Irish workers expended in making America” (Blair 556).
Criticism Against “Cultural Geography and the Place of Literary” by Sara Blair
  • Overemphasis on Spatiality at the Expense of Temporality
    • Blair argues that spatiality has replaced temporality as the dominant form of organizing human experience, but critics argue that this oversimplifies the relationship between space and time in cultural and literary analysis (Blair 545).
    • Some scholars believe that history and temporality remain crucial in understanding literature and social structures, and dismissing them as secondary limits the depth of analysis.
  • Limited Engagement with Traditional Literary Analysis
    • While Blair emphasizes cultural geography as a tool for literary critique, she does not sufficiently address how traditional literary theories—such as formalism or close reading—can coexist with spatial analysis (Blair 550).
    • The article privileges sociopolitical readings over textual aesthetics, which some critics argue results in a neglect of literary style, form, and narrative techniques.
  • Abstract and Overly Theoretical Approach
    • Blair’s engagement with theorists like Henri Lefebvre, Edward Soja, and David Harvey is highly abstract, making her arguments difficult to apply to specific literary works (Blair 548-550).
    • Critics argue that the lack of concrete case studies weakens the practicality of cultural geography in literary studies, making it more of a theoretical proposition than a useful critical tool.
  • Neglect of Marginalized and Non-Western Literatures
    • The discussion of cultural geography primarily focuses on American and Western literary traditions, leaving out non-Western perspectives on space and place (Blair 552-553).
    • Critics argue that spatial theories should be more inclusive, incorporating global and postcolonial perspectives that challenge Western-centric notions of geography.
  • Romanticization of Space as a Site of Agency
    • While Blair argues that cultural geography enables agency and resistance, some scholars critique this as an overly optimistic perspective, failing to account for how space can also reinforce structural oppression and power hierarchies (Blair 556).
    • In some cases, spaces are so deeply embedded in historical and economic structures that individual agency is severely constrained, contradicting Blair’s emphasis on spatial dynamism.
  • Underdeveloped Connection Between Literary Studies and Geography
    • Although Blair seeks to bridge the gap between cultural geography and literary studies, her analysis does not fully integrate the methodologies of both fields (Blair 562).
    • Some critics argue that the article treats geography as a supplement to literary studies rather than engaging in a true interdisciplinary synthesis.
Representative Quotations from “Cultural Geography and the Place of Literary” by Sara Blair with Explanation
QuotationExplanation
“We inhabit a posthistorical era… temporality as the organizing form of experience has been superseded by spatiality.” (Blair, 545)Blair asserts that spatiality has replaced temporality as the dominant way of organizing human experience. This reflects the shift in literary and cultural studies toward spatial analysis rather than historical narratives.
“The new cultural geography maps affective terrain along with economic and demographic flows.” (Blair, 546)This quotation highlights how cultural geography examines not just physical locations but also emotions, social relations, and economic movements, suggesting a holistic approach to understanding place.
“Cultural geography provides powerful new models and vocabularies for revisiting certain definitive (and apparently intractable) problems in American literary studies.” (Blair, 546)Blair argues that cultural geography offers fresh perspectives for literary studies, particularly in analyzing how space influences literature and cultural identity.
“The new geography has arrived, it would seem, just in time to vitiate or even resolve a felt crisis in literary studies.” (Blair, 547)Blair suggests that cultural geography helps address an ongoing crisis in literary studies by offering new methods to analyze texts, particularly in terms of spatial dynamics.
“What are the effects of dislocation governing this scene of reading—from urban to suburban, between distinct US regions with markedly different governing narratives of their shared history?” (Blair, 548)Blair questions how spatial displacement influences reading and literary interpretation, emphasizing the role of geography in shaping cultural understanding.
“Attention to traditional spatial forms enables a recovery of the agency of ordinary Americans making do in the era of postmodernity.” (Blair, 551)This emphasizes the idea that spatial studies allow scholars to recognize how everyday people navigate and construct meaning in a rapidly changing world.
“The new geography seeks to nuance theoretical narratives of postmodernity—to recognize that its own formulations of a simulacral, hyperreal, depthless space tend to drain affective experience of specific meaning on the local scale.” (Blair, 548)Blair critiques postmodern spatial theories for sometimes failing to capture the lived, emotional, and local experiences of space, calling for a more nuanced approach.
“Mapping American culture suggests how interpretive practices central to American studies can give intimacy and texture to the discourse of spatiality.” (Blair, 552)She highlights how cultural geography allows literary scholars to engage with spatiality in a more intimate and detailed manner, rather than as an abstract concept.
“In a moment when human agents feel the need to invent a new geographic imaginary, the stakes for cultural theorizing are bracingly high.” (Blair, 556)Blair points out that the urgency of redefining spatial relationships makes cultural geography essential for literary and social analysis.
“Literary texts represent a wide horizon of possibility. They testify with particular acuity to the relations between space and place and the conditions under which both are made.” (Blair, 558)She concludes that literature plays a crucial role in exploring and reflecting the dynamics of space and place, making literary analysis indispensable to cultural geography.
Suggested Readings: “Cultural Geography and the Place of Literary” by Sara Blair
  1. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History 10.3 (1998): 544-567.
  2. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History, vol. 10, no. 3, 1998, pp. 544–67. JSTOR, http://www.jstor.org/stable/490111. Accessed 22 Feb. 2025.
  3. Cresswell, Tim. “New Cultural Geography – an Unfinished Project?” Cultural Geographies, vol. 17, no. 2, 2010, pp. 169–74. JSTOR, http://www.jstor.org/stable/44251329. Accessed 22 Feb. 2025.
  4. Price, Patricia L. “Cultural Geography and the Stories We Tell Ourselves.” Cultural Geographies, vol. 17, no. 2, 2010, pp. 203–10. JSTOR, http://www.jstor.org/stable/44251334. Accessed 22 Feb. 2025.

“Why Literature And Medicine?” By Larry R. Churchill: Summary and Critique

“Why Literature and Medicine?” by Larry R. Churchill first appeared in Literature and Medicine in 1982 (Vol. 1, pp. 35-36), published by Johns Hopkins University Press.

"Why Literature And Medicine?" By Larry R. Churchill: Summary and Critique
Introduction: “Why Literature And Medicine?” By Larry R. Churchill

“Why Literature and Medicine?” by Larry R. Churchill first appeared in Literature and Medicine in 1982 (Vol. 1, pp. 35-36), published by Johns Hopkins University Press. Churchill argues for the integration of literature into medical education, emphasizing that literature fosters deeper insight into the human condition—something that purely scientific training often neglects. He critiques the longstanding division between the sciences and humanities, noting that medical students respond more profoundly to narratives like John Berger’s A Fortunate Man than to sociological models of illness (Churchill, 1982). This, he suggests, is because literature has the unique capacity to engage imagination and empathy, enabling physicians to better understand their patients’ lived experiences. Churchill asserts that medical education risks alienating students from the human aspects of their profession, as “too frequently the well-trained professional is not well educated” (p. 36). He highlights literature’s ability to offer “thick descriptions” of human suffering and ethical dilemmas, referencing James Dickey’s poem Diabetes as an example of how literature conveys the patient’s perspective more powerfully than clinical descriptions of noncompliance (p. 36). Ultimately, Churchill argues that literature does not merely supplement medical training but is essential to it, as it provides “the space to imagine how it might be otherwise” and cultivates the moral and perceptual skills necessary for compassionate care (p. 36). His essay remains a foundational work in the interdisciplinary field of literature and medicine, reinforcing the idea that storytelling is integral to ethical medical practice.

Summary of “Why Literature And Medicine?” By Larry R. Churchill

·  The Impact of Literature on Medical Students

  • Churchill notes that first-year medical students respond more profoundly to narratives like A Fortunate Man by John Berger than to theoretical sociological concepts such as Talcott Parsons’ definition of the sick role (Churchill, 1982, p. 35).
  • He argues that this reaction highlights a fundamental gap in medical education, where scientific training often neglects the humanistic dimensions of medicine.

·  The Problem of Academic Bifurcation

  • Churchill critiques the Western tradition of separating sciences and humanities, creating false dichotomies such as “hard data and soft; knowledge and opinion; fact and value; cognitive and affective” (p. 35).
  • He argues that this divide leads to a lack of appreciation for the role of humanistic learning in medical education.

·  Medicine and the Human Condition

  • Many medical problems, such as suffering, depression, chronic disease, disability, and death, do not have purely technical or scientific solutions (p. 35).
  • These issues require “depth of insight, acuity of perception, and skills in communication” that literature traditionally fosters (p. 35).

·  Alienation in Medical Education

  • Churchill highlights that professionalization often leads to alienation, with many medical students losing touch with the human realities of medicine as they focus on scientific knowledge (p. 36).
  • He argues that Literature and Medicine as a field can help restore this lost understanding and awareness.

·  Literature as a Corrective Force

  • Beyond bridging the gap between sciences and humanities, literature provides what Clifford Geertz calls “thick descriptions” of human experiences (p. 36).
  • It allows medical professionals to understand patients’ perspectives by stimulating imagination and empathy.

·  The Role of Imagination in Medicine

  • Literature enables physicians to “change places with the patient and dwell in his or her ambience” (p. 36).
  • Churchill uses James Dickey’s poem Diabetes as an example, arguing that it conveys the patient’s struggles more effectively than clinical descriptions of noncompliance (p. 36).

·  Morality and Storytelling in Medicine

  • Churchill emphasizes that ethical decision-making in medicine relies on narratives rather than abstract principles.
  • He states, “The parable of the Good Samaritan is to the principle of beneficence as Fort Knox is to a quarter,” underscoring that storytelling is a more compelling guide to morality than theoretical ethics (p. 36).

·  The Power of Narrative in Medical Encounters

  • Literature does not merely supplement medical training but is essential to it because it “lets be, for its own sake, and on its own terms, the human realities of medicine” (p. 36).
  • Churchill concludes that the integration of literature and medicine is “natural and even essential,” rather than artificial or supplementary (p. 36).
Theoretical Terms/Concepts in “Why Literature And Medicine?” By Larry R. Churchill
Term/ConceptDefinition/ExplanationReference from Churchill (1982)
Academic BifurcationThe division between sciences and humanities, leading to a separation between technical knowledge and humanistic understanding.“The typical academic bifurcations of sciences and humanities (hard data and soft; knowledge and opinion; fact and value; cognitive and affective) have dominated our ways of thinking and perceiving” (p. 35).
Human ConditionThe broad range of emotional, psychological, and existential challenges faced by humans, including suffering, alienation, chronic illness, and death.“Suffering, depression, alienation, chronic disease, disability, and death are non-technical-solution problems—problems of the human condition” (p. 35).
Alienation in Medical EducationThe sense of detachment medical students experience from the human realities of medicine due to an overemphasis on scientific and technical knowledge.“Too frequently the well-trained professional is not well educated; too frequently the professional is uprooted from any real appreciation of the human condition” (p. 36).
ScientismThe belief that scientific knowledge is the only valid form of knowledge, often leading to the marginalization of humanities in medical education.“Beyond recognizing false bifurcations and the idolatry of scientism, literature can provide what Clifford Geertz calls ‘thick descriptions’ of our human situation” (p. 36).
Thick DescriptionA concept from Clifford Geertz referring to detailed, nuanced accounts of human behavior and experience that capture deeper meaning and context.“Literature can provide what Clifford Geertz calls ‘thick descriptions’ of our human situation, and the space to imagine how it might be otherwise” (p. 36).
Imagination in MedicineThe role of literature in fostering empathy and allowing medical professionals to see from a patient’s perspective.“Imagination frees us from the immediate and allows the unusual, the other, to appear” (p. 36).
Narrative PowerThe idea that storytelling is a compelling way to understand and convey human experiences, particularly in ethical and medical contexts.“Narrative has the power to show us, rather than tell us about, the profound mystery of medical encounters” (p. 36).
Moral Decision-Making through StoriesThe argument that ethics in medicine is shaped more by compelling narratives than abstract principles.“Our sense of morality in medicine is ultimately grounded in the persuasive power of stories of helping and healing, not in the clarity of our thinking about principles” (p. 36).
Empathy through LiteratureThe ability of literature to help medical professionals understand the lived experiences of patients.“Literature evokes and stimulates the imagination, permitting us to change places with the patient and dwell in his or her ambience” (p. 36).
Natural Integration of Literature and MedicineThe argument that literature and medicine are inherently connected, rather than artificially linked.“Far from being artificial, the conjoining of literature and medicine is natural and even essential” (p. 36).
Contribution of “Why Literature And Medicine?” By Larry R. Churchill to Literary Theory/Theories
  • Narrative Theory and the Power of Storytelling
    • Churchill emphasizes the importance of narrative in understanding human experiences, particularly in medicine. He argues that “narrative has the power to show us, rather than tell us about, the profound mystery of medical encounters” (Churchill, 1982, p. 36).
    • His argument aligns with Narrative Theory, which suggests that stories shape human perception and meaning-making, particularly in ethical and medical contexts.
    • He supports the idea that moral and ethical decisions in medicine are better understood through stories rather than abstract principles: “Our sense of morality in medicine is ultimately grounded in the persuasive power of stories of helping and healing, not in the clarity of our thinking about principles” (p. 36).
  • Reader-Response Theory and Empathy in Literature
    • Churchill’s discussion of how medical students respond more profoundly to literature than theoretical texts aligns with Reader-Response Theory, which argues that meaning is shaped by the reader’s engagement with a text.
    • He suggests that literature’s power lies in its ability to evoke empathy and personal reflection: “Literature evokes and stimulates the imagination, permitting us to change places with the patient and dwell in his or her ambience” (p. 36).
    • This reinforces the idea that meaning is not fixed in a text but is actively constructed by the reader’s experience and emotions.
  • Hermeneutics and “Thick Description”
    • Churchill references Clifford Geertz’s concept of “thick descriptions,” which is rooted in hermeneutics—the study of interpretation, especially in human sciences (p. 36).
    • He argues that literature allows for a deep, context-rich understanding of human suffering that is often missing from clinical descriptions.
    • This contribution aligns with hermeneutic literary theory, which emphasizes deep, interpretive engagement with texts to uncover meaning beyond surface-level analysis.
  • Medical Humanities and Interdisciplinary Literary Studies
    • Churchill’s essay serves as a foundational text in the field of Medical Humanities, advocating for the integration of literature into medical education.
    • His argument that “far from being artificial, the conjoining of literature and medicine is natural and even essential” (p. 36) supports interdisciplinary literary studies, where literature is examined in conjunction with fields like ethics, philosophy, and healthcare.
    • This contribution highlights the role of literature as a bridge between scientific knowledge and humanistic understanding.
  • Ethical Criticism and the Role of Literature in Moral Decision-Making
    • Ethical criticism explores how literature influences moral reasoning and ethical dilemmas.
    • Churchill asserts that literature plays a crucial role in shaping medical ethics, arguing that “the power to see clearly and from diverse perspectives is the sine qua non for choice and decision” (p. 36).
    • His emphasis on storytelling as a moral guide reflects the broader argument within ethical criticism that literature is essential for cultivating ethical awareness.
Examples of Critiques Through “Why Literature And Medicine?” By Larry R. Churchill
Literary WorkChurchill’s Perspective and CritiqueReference from Churchill (1982)
John Berger’s A Fortunate Man (1967)Churchill praises this work for its ability to engage medical students deeply, providing a compelling humanistic perspective on medicine. He contrasts its impact with abstract sociological definitions, stating that freshman medical students are “more profoundly affected by reading John Berger’s A Fortunate Man than Talcott Parsons’s definition of the sick role” (p. 35). This highlights the importance of narrative over theoretical frameworks in medical education.“Perhaps freshman medical students know something that professionals have forgotten” (p. 35).
James Dickey’s poem DiabetesChurchill argues that this poem conveys the patient’s perspective on illness more effectively than clinical descriptions of noncompliance. He states that it is “worth a thousand sociological descriptions of ‘noncompliance,'” as it allows readers to experience the emotional and sensory struggles of a diabetic patient (p. 36).“Literature evokes and stimulates the imagination, permitting us to change places with the patient and dwell in his or her ambience” (p. 36).
The Parable of the Good Samaritan (Biblical Narrative)Churchill uses this parable to illustrate the power of storytelling in ethical reasoning, comparing it to the principle of beneficence in medical ethics. He argues that “The parable of the Good Samaritan is to the principle of beneficence as Fort Knox is to a quarter,” suggesting that narratives have a stronger persuasive power in shaping moral understanding than abstract principles (p. 36).“It is the narrative power of the parable that makes it compelling—that is, the knitting together of events, motives, and actions that together form a story” (p. 36).
Clifford Geertz’s Concept of “Thick Description” (Applied to Literature)While not a literary work per se, Churchill engages with Geertz’s anthropological theory of “thick description” to argue that literature provides rich, contextually nuanced insights into human suffering. He suggests that literature can “provide what Clifford Geertz calls ‘thick descriptions’ of our human situation,” allowing deeper engagement with the lived experiences of patients (p. 36).“Beyond recognizing false bifurcations and the idolatry of scientism, literature can provide what Clifford Geertz calls ‘thick descriptions’ of our human situation, and the space to imagine how it might be otherwise” (p. 36).
Criticism Against “Why Literature And Medicine?” By Larry R. Churchill
  • Overemphasis on Narrative at the Expense of Scientific Rigor
    • Some critics argue that Churchill romanticizes the role of literature in medicine, potentially downplaying the necessity of empirical, evidence-based knowledge in clinical practice.
    • His assertion that medical students are “more profoundly affected” by A Fortunate Man than by sociological theories (Churchill, 1982, p. 35) may overlook the importance of understanding broader systemic and theoretical medical frameworks.
  • Lack of Concrete Methodology for Integrating Literature into Medical Training
    • While Churchill advocates for the inclusion of literature in medical education, he does not provide a clear framework or practical methodology for its implementation.
    • His argument remains largely philosophical, leaving unanswered questions about how medical curricula should balance literary and scientific training.
  • Potential Subjectivity and Variability in Literary Interpretation
    • Reader-response theory suggests that different readers extract different meanings from the same text, making literature an inconsistent tool for medical education.
    • What one student finds illuminating, another may find unhelpful or irrelevant, raising concerns about the reliability of literature as a pedagogical tool in medical training.
  • Ethical and Cultural Biases in Literary Selections
    • Churchill assumes that certain literary works (e.g., A Fortunate Man, Diabetes) universally resonate with medical students, but literature is culturally and contextually dependent.
    • His argument does not account for how diverse student backgrounds might influence their engagement with Western literary traditions and medical narratives.
  • Failure to Address the Limitations of Literature in Addressing Structural Issues in Medicine
    • Churchill focuses on literature’s ability to enhance empathy and moral reasoning but does not fully address how systemic medical issues (e.g., disparities in healthcare access, institutional biases) require more than narrative understanding.
    • While literature can enrich medical ethics, it alone does not equip physicians with the tools to solve structural inequalities in healthcare.
Representative Quotations from “Why Literature And Medicine?” By Larry R. Churchill with Explanation
QuotationExplanation
“Freshman medical students are more profoundly affected by reading John Berger’s A Fortunate Man than Talcott Parsons’s definition of the sick role.” (p. 35)Churchill argues that narratives resonate more deeply with medical students than abstract sociological theories. This highlights the power of storytelling in shaping human understanding of medicine.
“The typical academic bifurcations of sciences and humanities (hard data and soft; knowledge and opinion; fact and value; cognitive and affective) have dominated our ways of thinking and perceiving.” (p. 35)He critiques the rigid separation between science and the humanities, which limits a holistic approach to medical education.
“Suffering, depression, alienation, chronic disease, disability, and death are non-technical-solution problems—problems of the human condition.” (p. 35)Churchill emphasizes that many medical issues cannot be solved solely by scientific advancements but require emotional and humanistic understanding.
“Too frequently the well-trained professional is not well educated; too frequently the professional is uprooted from any real appreciation of the human condition—both that of patients and his or her own.” (p. 36)He criticizes medical education for producing technically skilled but emotionally disconnected professionals.
“Perhaps Literature and Medicine can remind us of what freshman medical students still know but which professionalization teaches us to forget.” (p. 36)He suggests that literature can help medical professionals retain their initial empathy and humanistic perspective.
“Literature can provide what Clifford Geertz calls ‘thick descriptions’ of our human situation, and the space to imagine how it might be otherwise.” (p. 36)Churchill references Geertz’s concept of “thick description” to show how literature provides rich, nuanced insights into human experiences.
“Imagination frees us from the immediate and allows the unusual, the other, to appear.” (p. 36)He asserts that literature stimulates the imagination, enabling doctors to empathize with patients’ experiences.
“James Dickey’s poem Diabetes is worth a thousand sociological descriptions of ‘noncompliance,’ precisely because it allows us to see what the diabetic sees at breakfast and what it means to long for the forbidden beer at a campsite.” (p. 36)Churchill uses this example to show that literature can communicate lived experiences of illness more effectively than clinical descriptions.
“The parable of the Good Samaritan is to the principle of beneficence as Fort Knox is to a quarter.” (p. 36)He argues that stories, rather than abstract ethical principles, have a more profound impact on moral reasoning in medicine.
“Far from being artificial, the conjoining of literature and medicine is natural and even essential.” (p. 36)Churchill concludes that literature is not just a supplementary tool in medicine but a fundamental aspect of understanding and practicing compassionate care.
Suggested Readings: “Why Literature And Medicine?” By Larry R. Churchill
  1. Churchill, Larry R. “Why literature and medicine?.” Literature and Medicine 1.1 (1982): 35-36.
  2. Rousseau, G. S. “Literature and Medicine: The State of the Field.” Isis, vol. 72, no. 3, 1981, pp. 406–24. JSTOR, http://www.jstor.org/stable/230258. Accessed 21 Feb. 2025.
  3. Greenhalgh, Trisha, and Brian Hurwitz. “Narrative Based Medicine: Why Study Narrative?” BMJ: British Medical Journal, vol. 318, no. 7175, 1999, pp. 48–50. JSTOR, http://www.jstor.org/stable/25181430. Accessed 21 Feb. 2025.
  4. HALLER, JOHN S. “POSTMODERNIST MEDICINE.” Shadow Medicine: The Placebo in Conventional and Alternative Therapies, Columbia University Press, 2014, pp. 31–60. JSTOR, http://www.jstor.org/stable/10.7312/hall16904.7. Accessed 21 Feb. 2025.

“To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino: Summary and Critique

“To Look Feelingly—the Affinities of Medicine and Literature” by Edmund D. Pellegrino first appeared in Literature and Medicine in 1982 (Volume 1, pp. 19-23), published by Johns Hopkins University Press.

Introduction: “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino

“To Look Feelingly—the Affinities of Medicine and Literature” by Edmund D. Pellegrino first appeared in Literature and Medicine in 1982 (Volume 1, pp. 19-23), published by Johns Hopkins University Press. Pellegrino explores the profound connection between medicine and literature, emphasizing their shared moral enterprise. Both fields, he argues, require practitioners to engage deeply with human experience, seeing not just the facts but the emotions and struggles that underpin them. Medicine, without compassion, becomes mere technology, and literature, without feeling, becomes a detached recounting of events. Pellegrino highlights how both disciplines serve as ways of looking at human life, necessitating both detachment and involvement. He draws on the perspectives of thinkers like George Santayana and Owsei Temkin, who argue that medicine and literature share a moral dimension and both help us understand the human condition. The article underscores the value of literature in medical education, noting its power to evoke empathy and deepen understanding of the complexities of illness. Pellegrino’s work is significant because it provides a philosophical and practical framework for integrating literature into medical practice, enhancing physicians’ empathy, and enriching their ability to see their patients more fully as human beings. This article is important not only for its contribution to medical humanities but also for its insights into how literature can cultivate a deeper moral awareness within medicine.

Summary of “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino

The Moral Foundations of Medicine and Literature

  • Both medicine and literature are fundamentally moral enterprises, rooted in compassion and engagement with human suffering (Pellegrino, 1982).
  • Medicine must go beyond mere technology, requiring compassion for true healing, while literature needs to look with feeling to avoid detachment (Pellegrino, 1982).
  • Both disciplines require practitioners to engage deeply with human experiences, standing back yet fully involved in the struggles of life (Pellegrino, 1982).

Medicine and Literature as Narrative Forms

  • The physician’s clinical history and the writer’s narrative both tell the story of human suffering and resilience (Pellegrino, 1982).
  • While clinical records focus on diagnosis and prognosis, literature infuses illness with emotional and moral depth, encouraging a compassionate look at human suffering (Pellegrino, 1982).
  • The narrative power of literature makes readers confront the realities of illness and mortality in a deeply emotional way (Pellegrino, 1982).

Empathy and the Role of Literature in Medical Education

  • Literature plays a critical role in teaching empathy, allowing medical students to vicariously experience illness, pain, and death (Pellegrino, 1982).
  • Incorporating literary works into medical education helps students relate to patients and understand their moral and existential struggles (Pellegrino, 1982).
  • Literature enhances students’ ability to treat patients with greater sensitivity, which is difficult to teach through clinical training alone (Pellegrino, 1982).

The Symbolic Power of Language in Medicine

  • Language in both medicine and literature is crucial for understanding and conveying human experiences (Pellegrino, 1982).
  • In medicine, language facilitates diagnosis, treatment, and communication, while in literature, it evokes deeper meanings and emotions (Pellegrino, 1982).
  • Physicians can improve their diagnostic skills and communication by understanding the cultural and symbolic nuances of language (Pellegrino, 1982).

Enhancing the Physician’s Sensibility Through Literature

  • Literature enriches the sensibilities of physicians, helping them view patients as human beings rather than just clinical cases (Pellegrino, 1982).
  • By exploring literature, physicians can restore a sense of purpose and humanity to their practice, connecting more deeply with patients (Pellegrino, 1982).
  • Integrating literary insights enhances both medical practice and the physician’s understanding of the human condition (Pellegrino, 1982).
Theoretical Terms/Concepts in “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino
Term/ConceptExplanationReference from Article
Moral EnterpriseThe concept that both medicine and literature are grounded in moral engagement, focusing on human suffering and compassion.“Both are ways of looking at man and both are, at heart, moral enterprises.” (Pellegrino, 1982)
Compassionate ObjectivityThe idea that medicine is not just science and art but involves looking at the human condition with a compassionate lens.“Medicine is not only science and art but also a mode of looking with compassionate objectivity.” (Pellegrino, 1982)
Seeing Life BareThe necessity for both medicine and literature to confront human life without avoidance, facing suffering directly.“Both must start by seeing life bare, without averting their gaze.” (Pellegrino, 1982)
Authentic CompassionThe authentic engagement with suffering that both physicians and writers must demonstrate, going beyond detached observation.“To be authentic they must look with compassion.” (Pellegrino, 1982)
Moral StruggleThe shared paradox in both fields of standing back from human suffering yet being deeply involved in its outcome.“Medicine and literature are united in an unremitting paradox: the need simultaneously to stand back from, and yet to share in, the struggle of human life.” (Pellegrino, 1982)
Vicarious ExperienceThe ability of literature to evoke the emotional depth of human experiences, allowing readers to feel the subject’s struggles.“The writer of literature can evoke a vicarious experience of illness and suffering.” (Pellegrino, 1982)
Symbolic Power of LanguageThe importance of understanding language not only as a tool for communication but as a vehicle for evoking deeper meanings in both medicine and literature.“Language is the instrument of diagnosis and therapy, the vehicle through which the patient’s needs are expressed and the doctor’s advice conveyed.” (Pellegrino, 1982)
Empathy through LiteratureThe concept that literature can teach empathy by allowing physicians to experience illness, pain, and suffering vicariously, thereby enhancing their compassion.“Literature offers an alternative because it has such power to evoke vicarious experiences.” (Pellegrino, 1982)
Healing through ArtThe idea that both medicine and literature serve to heal—medicine physically and literature emotionally—through the compassionate engagement of the practitioner.“Medicine without compassion is mere technology, curing without healing; literature without feeling is mere reporting, experience without meaning.” (Pellegrino, 1982)
Narrative in MedicineThe idea that medical histories and narratives provide a story of human suffering and illness, and that the clinical history is a story of a person’s journey through disease.“The patient’s history that a physician writes is really a tale, the narrative of the patient’s Odyssey in the dismal realms of disease.” (Pellegrino, 1982)
Contribution of “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino to Literary Theory/Theories

1. Moral Criticism

  • Contribution to Theory: Pellegrino’s article aligns with moral criticism by asserting that both medicine and literature serve as moral enterprises. The focus is on understanding and engaging with human suffering and moral dilemmas, which are central concerns of moral criticism in literary theory.
  • Reference from Article: “Both are ways of looking at man and both are, at heart, moral enterprises.” (Pellegrino, 1982)

2. Narratology

  • Contribution to Theory: The article emphasizes the narrative structure in both medicine and literature, particularly the way stories are told in both disciplines. It suggests that a physician’s clinical history and a writer’s narrative both recount a journey of human suffering, making narrative theory an essential bridge between medicine and literature.
  • Reference from Article: “The patient’s history that a physician writes is really a tale, the narrative of the patient’s Odyssey in the dismal realms of disease.” (Pellegrino, 1982)

3. Reader-Response Theory

  • Contribution to Theory: Pellegrino underscores the emotional engagement that literature evokes, highlighting the role of the reader (or the medical student) in experiencing the text or the patient’s illness vicariously. This aligns with reader-response theory, which stresses the active role of the reader in deriving meaning and emotional resonance from a text.
  • Reference from Article: “The writer of literature can evoke a vicarious experience of illness and suffering.” (Pellegrino, 1982)

4. Psychoanalytic Theory

  • Contribution to Theory: The article’s exploration of the emotional depth and psychological dimensions of both medicine and literature can be tied to psychoanalytic theory, which often explores human suffering, moral conflicts, and the subconscious. Pellegrino reflects on the emotional and empathetic role of the physician, echoing psychoanalytic concerns with human emotions and unconscious struggles.
  • Reference from Article: “To look with compassion is the summit of artistry for both medicine and literature.” (Pellegrino, 1982)

5. Humanism in Literary Theory

  • Contribution to Theory: Pellegrino’s emphasis on the humane qualities of both medicine and literature connects deeply with the humanist tradition in literary theory. He argues that both fields are driven by a desire to alleviate suffering and to understand the moral and existential struggles of individuals.
  • Reference from Article: “Medicine and literature are linked because they both tell the story of what they see, telling the human tale of suffering and healing.” (Pellegrino, 1982)

6. New Historicism

  • Contribution to Theory: By linking literature and medicine as historical and contextual narratives, Pellegrino indirectly supports New Historicism, which examines texts within the socio-cultural contexts in which they are created. His discussion of literary works that portray physicians and the medical experience sheds light on how literature historically reflects societal views on health and illness.
  • Reference from Article: “Writers have inquired into the doctor’s life because they could not be indifferent to it. The physician is too intimately bound to hopes and fears of the ill.” (Pellegrino, 1982)

7. Empathy and Emotional Engagement in Literature

  • Contribution to Theory: The article significantly contributes to the theory of empathy in literature. By stressing that literature helps medical practitioners develop empathy through emotional engagement, Pellegrino supports the idea that literature has a profound role in fostering emotional awareness, a key concern in literary studies and the humanities.
  • Reference from Article: “Literature has such power to evoke vicarious experiences… to help students learn to see with compassion.” (Pellegrino, 1982)

8. The Theory of Healing through Art

  • Contribution to Theory: Pellegrino touches upon the idea that both literature and medicine act as forms of healing. This concept aligns with literary theory’s interest in the therapeutic potential of literature, particularly how literature can offer emotional release and understanding of human suffering, similar to the healing process in medicine.
  • Reference from Article: “Literature gives meaning to what physicians see, and it makes them see it feelingly.” (Pellegrino, 1982)
Examples of Critiques Through “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino
Literary WorkCritique through Pellegrino’s ConceptsReference from Article
Homer’s The IliadPellegrino’s concept of vicarious experience is applied here, as The Iliad vividly evokes the physical and emotional pain of war, similar to the suffering witnessed by physicians. The narrative forces readers to experience the agony of battle and the moral consequences of war.“No medical lecturer could evoke the experience of illness with the intensity achieved, for example, in Homer’s depictions of the lacerating and flesh-tearing assault of spear and arrow.” (Pellegrino, 1982)
Thomas Mann’s Doctor FaustusDoctor Faustus reflects the moral paradox discussed by Pellegrino—standing back from human suffering while deeply engaged in it. The psychological and moral struggles of the protagonist mirror the complexity of the medical and literary disciplines as they both confront human frailty.“The confusion of madness and genius in the sick brain of Mann’s Adrian Leverkühn.” (Pellegrino, 1982)
Virginia Woolf’s On Being IllWoolf’s reflection on the experience of illness aligns with Pellegrino’s exploration of compassionate objectivity. Woolf’s personal account of illness allows readers to understand the subjective experience of pain and suffering, which is central to both medical practice and literature.“The pleasurable malaise of a mild illness in Virginia Woolf’s ‘On Being 111.'” (Pellegrino, 1982)
Leo Tolstoy’s The Death of Ivan IlyichTolstoy’s exploration of mortality and the inhumane treatment of the dying mirrors Pellegrino’s idea that medicine without compassion is mere technology. The lack of empathy in the physicians in the story contrasts sharply with the emotional depth of the narrative, illustrating the importance of compassionate objectivity.“The indignities suffered by Tolstoy’s dying barrister at the hands of his paternalistic doctors.” (Pellegrino, 1982)
Criticism Against “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino

1. Oversimplification of the Connection Between Medicine and Literature

  • Some critics may argue that Pellegrino oversimplifies the complex relationship between medicine and literature, attempting to fit them too neatly into a moral framework. The connection may be more nuanced than he presents, and the distinctions between clinical objectivity and literary compassion may not always align as easily as suggested.

2. Overemphasis on Compassion and Empathy

  • While Pellegrino emphasizes the importance of compassion and empathy, some critics may argue that these qualities alone do not define the entirety of either discipline. Both fields have a broader scope that includes other factors, such as intellectual rigor in medicine and aesthetic complexity in literature, which are not adequately addressed in the article.

3. Lack of Critical Engagement with Medical Practice

  • Pellegrino’s focus on the philosophical and moral aspects of medicine may overlook critical issues within actual medical practice, such as the socio-economic and structural challenges that physicians face. Critics might argue that this idealized view of medicine detracts from addressing systemic problems like healthcare inequality, mental health care, or the over-medicalization of society.

4. Exclusion of Other Literary Theories

  • Pellegrino’s analysis tends to focus on moral and humanistic themes, which may limit the scope of literary theory. Critics may argue that a more comprehensive critique would have integrated other literary theories, such as postmodernism, deconstruction, or Marxist theory, to provide a more diverse and multi-faceted perspective.

5. Romanticizing the Role of the Physician-Writer

  • The article idealizes the physician who writes, associating them with a heightened sense of moral and emotional insight. Some critics may argue that this romanticizes the role of physician-writers, neglecting the complexities and limitations of their dual careers. Not all physician-writers contribute positively to both fields, and some may fail to merge medical insight with literary creativity.

6. Limited Scope of Literary Examples

  • Pellegrino’s article focuses on a narrow set of literary examples (e.g., The Iliad, Doctor Faustus, and works by Virginia Woolf and Tolstoy). Critics may argue that this limited selection overlooks many other works that could provide a more diverse and comprehensive exploration of the intersection between medicine and literature.

7. Potential Overlap with Other Disciplines

  • Critics might argue that Pellegrino’s conclusions about the affinity between medicine and literature overlap with other fields, such as psychology, philosophy, and ethics. By focusing on just these two disciplines, the article may overlook broader interdisciplinary connections and fail to incorporate insights from other relevant academic areas.
Representative Quotations from “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino with Explanation
QuotationExplanation
“Both are ways of looking at man and both are, at heart, moral enterprises.” (Pellegrino, 1982)This quote highlights the central argument that both medicine and literature are fundamentally moral endeavors, concerned with understanding and engaging with human suffering.
“Medicine without compassion is mere technology, curing without healing; literature without feeling is mere reporting, experience without meaning.” (Pellegrino, 1982)Pellegrino emphasizes the necessity of compassion in both fields, asserting that without it, medicine becomes sterile and literature becomes a mere description.
“To look compassionately is the summit of artistry for both medicine and literature; to take part in the struggle is the morality they share.” (Pellegrino, 1982)This explains that true compassion in both disciplines goes beyond observing suffering, engaging with it on a deeply moral level.
“The patient’s history that a physician writes is really a tale, the narrative of the patient’s Odyssey in the dismal realms of disease.” (Pellegrino, 1982)Pellegrino draws a parallel between the physician’s clinical history and a literary narrative, suggesting that both are storytelling forms.
“The writer’s tale transcends the clinician’s history because his or her language is charged with meanings.” (Pellegrino, 1982)This quotation shows how literature, unlike clinical records, imbues human experiences with deep emotional and symbolic meaning.
“Clinical language itself can be a thing of beauty in those rare instances in which the artist is also a practicing physician.” (Pellegrino, 1982)Pellegrino refers to the ability of physician-writers to elevate clinical language, showing that it can be artistic and poetic, reflecting the human body and experience.
“Through the eyes of the sensitive creative writer, the student physician can experience something of what it is to be ill, in pain, in anguish, or dying.” (Pellegrino, 1982)This speaks to the power of literature in medical education, enabling students to develop empathy by vicariously experiencing illness through literature.
“No medical lecturer could evoke the experience of illness with the intensity achieved, for example, in Homer’s depictions of the lacerating and flesh-tearing assault of spear and arrow.” (Pellegrino, 1982)Pellegrino uses The Iliad as an example of how literature can powerfully convey the visceral, emotional experience of pain and suffering, surpassing what a medical lecture might achieve.
“Literature, through its power to evoke vicarious experience and develop empathy, places physicians in a concrete human situation.” (Pellegrino, 1982)This highlights literature’s unique ability to cultivate empathy in physicians, helping them understand the patient’s subjective experience.
“Literature gives meaning to what physicians see, and it makes them see it feelingly.” (Pellegrino, 1982)This quote illustrates how literature enriches the physician’s perspective, allowing them to engage with patients and their experiences with greater emotional depth.
Suggested Readings: “To Look Feelingly-the Affinities of Medicine and Literature” by Edmund D. Pellegrino
  1. Pellegrino, Edmund D. “To look feelingly-the Affinities of Medicine and Literature.” Literature and Medicine 1.1 (1982): 19-23.
  2. Jones, Anne Hudson. Nineteenth-Century French Studies, vol. 10, no. 1/2, 1981, pp. 184–85. JSTOR, http://www.jstor.org/stable/44627582. Accessed 21 Feb. 2025.
  3. Spiegel, Maura, and Rita Charon. “Editing and Interdisciplinarity: Literature, Medicine, and Narrative Medicine.” Profession, 2009, pp. 132–37. JSTOR, http://www.jstor.org/stable/25595923. Accessed 21 Feb. 2025.