Of all Abbey's works, Desert Solitaire has garnered the most critical attention. Abbey continued to detail his opinions in the subsequent collections of essays, The Journey Home , Abbey's Road , and One Life at a Time, Please , which combine Abbey's reverence for the wild landscape with his contempt for a society—and government—that promotes destruction of the land.
His novel The Monkey Wrench Gang traces the exploits of a group of vigilantes intent upon saving the desert from industrialization. While the novel maintains a comic tone, its message is serious: The novel is said to have inspired the formation of the real-life radical environmental group Earth First!
Abbey intended The Fool's Progress to be his masterpiece. Picaresque and autobiographical, the novel tells the story of Henry Lightcap, who embarks on a 3,mile journey with his old dog to the place where he was born and raised. Abbey's last novel, Hayduke Lives! Continuing the story of the radical environmentalists, the novel includes sketches of real Earth First!
Earth Apples collects Abbey's previously unpublished poems that he had read aloud over the years. Although critics note that Abbey's work tends to be didactic, verbose, and sometimes repetitive, he nevertheless has been praised as a skillful prose stylist whose powerful descriptive language evokes vivid images. Known to be cantankerous and politically aware, Abbey is frequently compared favorably with his hero, Henry David Thoreau.
The Great Smoky Mountains. Vox Clamantis in Deserto: Essays from a Secret Journal, Confessions of a Barbarian: The Poetry of Edward Abbey [edited by Petersen] poetry The Serpents of Paradise: A Reader [edited by John Macrae] fiction and nonfiction When Edward Abbey visited my campus some years ago, I was curious to know what he was like.
His public lecture was in the tone one might expect from his writing—a mixture of Jack Burns and George Washington Hayduke. But I was interested in the person behind the public image. At a reception at a colleague's house, after the lecture, I hoped to meet that person. Before many people had arrived, Abbey was quiet, affable, relaxed. As the number of people increased to a loud, milling mob, he became visibly less comfortable. Finally, he retreated as unobtrusively as possible to the kitchen.
I was already there, having made a similar retreat a few minutes earlier. We had a quiet conversation that ended only when others found where he had fled. From that brief acquaintance, I got the strong sense that Edward Abbey was not the sharp-tongued, outrageous anarchist so many believe him to have been see, for example, Gregory McNamee, 24 , but rather a quiet, shy, thoughtful man who created a far different persona for public consumption. Confirmation has since come from others.
Indeed, in an interview with James Hepworth, Abbey himself confirmed this view: I created this character, and I gave him my name. My thesis here is that such a personality, and such a vision, lie at the bottom of the aggregate of Edward Abbey's writing.
This idea is hardly new, of course. Other critics, such as Garth McCann, Ann Ronald, and Jerry Herndon, have found a balanced, eminently rational environmental moderate in Abbey's non-fiction nature writing, despite his more extreme statements, 1 and despite popular emphasis on some of his more extreme fictional characters.
I would like to demonstrate the soundness of that thesis, and to explore the complex ways this moderation beneath the surface of extremism has been stated outright in Abbey's non-fiction and has evolved as a definitive counterpoint to the more colorful extremism in his fiction.
Abbey's readers have long recognized his habit of using similar names for similar characters from one work of fiction to another, such as Vogelin as Jack Burns's grandfather's name and as the name of the embattled rancher in Fire on the Mountain, and Desalius for the military man in both of those novels.
This continuity and development from work to work extends not only to characters but also to themes and relationships. First, however, let us consider the direct statements, particularly in his non-fiction nature writing. His position is clearly stated in Desert Solitaire. The refrigerator, for example, is a useful machine for producing ice for his drinks: The one thing better than solitude, he says, is society, not of crowds but of friends What he objects to, he insists, is what he calls anthropocentricity, not science, but science and technology misapplied The same theme arises in The Journey Home.
Consistent with this Hellenic moderation is Abbey's praise of objective realism and rationality. Again in The Journey Home he says that the poet of our age must begin with the scientific view of the world.
In short, Abbey does not display the romanticism or the sentimentality so often associated with extreme environmentalism. His vision is that of the moderate realist. Thus the Abbey of his non-fiction takes moderate views, yet the colorful extremists of his fiction continue to attract the attention and usually the sympathy of Abbey's readers.
Are they the true representative of Abbey's environmentalism? Once his imagination has left the realistic constraints of non-fiction, does it give us Abbey's deepest beliefs? And do these creations of Abbey's imagination contradict or somehow give the lie to his more restrained and rational essays? No, they do not. Examined with care, and as part of the larger pattern of Abbey's work, these characters fit his vision of realistic rationality, not contradicting it but only keeping it open-ended and still available to the He loves the freedom of his life as an itinerant herder, a life characterized by physical labor, personal freedom, and respect for the land, but he is a man out of step with his time.
Abbey sends his hero riding into Duke City on horseback. Burns is a happy-go-lucky sort who hates fences, highways, and urban sprawl. When he comes to a fence, he cheerfully cuts it. When he comes to a highway, he and his horse have difficulty, but they manage to cross it. Burns lives by a personal code that has nothing to do with the constraints of modern civilization.
I already know who I am. When he and his beloved little mare are run down on the highway by a truck carrying a load of bathroom fixtures, it is tragic but not unexpected. The message is clear. There is no room for a Burns and the way of life he represents in urban, industrial society. The future belongs to the developers and bureaucrats who are the faceless representatives of modern repression. The notion of government as an expression of the violent repression of the individual is more explicit in Fire on the Mountain.
Vogelin refuses to sell. He sees himself as a part of the land upon which he has lived his life.
Mar 14, · Essays and criticism on Edward Abbey - Abbey, Edward.
Free edward abbey papers, essays, and research papers.
Edward Abbey essays Edward Abbey was born in in the Appalachian area of Pennsylvania. He was the oldest of five children born to a family of Scotch-German descent. His anti-capitalist father was a trapper and logger with Marxist leanings; his religious mother was a school teacher. As a child he. Essays and criticism on Edward Abbey - Critical Essays.
The Edward abbey is one of the most popular assignments among students' documents. If you are stuck with writing or missing ideas, scroll down and find inspiration in the best samples. Edward abbey is quite a rare and popular topic for writing an essay, but it certainly is in our database. Edward Abbey’s attitudes toward nature are clearly characterized through his description of the Aravaipa Canyon in New Mexico. Abbey views nature as this magnificent and mysterious concept in life that will forever be unknown, or not entirely comprehensible.