Wilderness And The American Mind Quotes

The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way--a vision gleaned from the way we had heard the word 'beat' spoken on streetcorners on Times Square and in the Village, in other cities in the downtown city night of postwar America--beat, meaning down and out but full of intense conviction--We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer--It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization--the subterraneans heroes who'd finally turned from the 'freedom' machine of the West and were taking drugs, digging bop, having flashes of insight, experiencing the 'derangement of the senses,' talking strange, being poor and glad, prophesying a new style for American culture, a new style (we thought), a new incantation--The same thing was almost going on in the postwar France of Sartre and Genet and what's more we knew about it--But as to the actual existence of a Beat Generation, chances are it was really just an idea in our minds--We'd stay up 24 hours drinking cup after cup of black coffee, playing record after record of Wardell Gray, Lester Young, Dexter Gordon, Willie Jackson, Lennie Tristano and all the rest, talking madly about that holy new feeling out there in the streets- -We'd write stories about some strange beatific Negro hepcat saint with goatee hitchhiking across Iowa with taped up horn bringing the secret message of blowing to other coasts, other cities, like a veritable Walter the Penniless leading an invisible First Crusade- -We had our mystic heroes and wrote, nay sung novels about them, erected long poems celebrating the new 'angels' of the American underground--In actuality there was only a handful of real hip swinging cats and what there was vanished mightily swiftly during the Korean War when (and after) a sinister new kind of efficiency appeared in America, maybe it was the result of the universalization of Television and nothing else (the Polite Total Police Control of Dragnet's 'peace' officers) but the beat characters after 1950 vanished into jails and madhouses, or were shamed into silent conformity, the generation itself was shortlived and small in number.

I have spent too much time with my eye glued to the viewfinder and ended up missing both the image of the mind and that on film.

and she thought: God is America’s king. She thought: Americans won’t obey any king on earth. Americans are free. That means they have to obey their own consciences. No king bosses Pa; he has to boss himself. Why (she thought), when I am a little older, Pa and Ma will stop telling me what to do, and there isn’t anyone else who has a right to give me orders. I will have to make myself be good. Her whole mind seemed to be lighted up by that thought. This is what it means to be free. It means, you have to be good. “Our father’s God, author of liberty—” The laws of Nature and of Nature’s God endow you with a right to life and liberty. Then you have to keep the laws of God, for God’s law is the only thing that gives you a right to be free.

Second, burdened by social stigmas, status anxiety, and feelings of inauthenticity or guilt, the ultra-wealthy use nature and rural people as a vehicle for personal transformation, creating versions of themselves they view as more authentic, virtuous, and community minded.

Wilderness appealed to those bored or disgusted with man and his works. It not only offered an escape from society but also was an ideal stage for the Romantic individual to exercise the cult that he frequently made of his own soul. The solitude and total freedom of the wilderness created a perfect setting for either melancholy or exultation. RODERICK NASH, WILDERNESS AND THE AMERICAN MIND

Chastity and moral purity were qualities McCandless mulled over long and often. Indeed, one of the books found in the bus with his remains was a collection of stories that included Tol¬stoy’s “The Kreutzer Sonata,” in which the nobleman-turned-ascetic denounces “the demands of the flesh.” Several such passages are starred and highlighted in the dog-eared text, the margins filled with cryptic notes printed in McCandless’s distinc¬tive hand. And in the chapter on “Higher Laws” in Thoreau’s Walden, a copy of which was also discovered in the bus, McCand¬less circled “Chastity is the flowering of man; and what are called Genius, Heroism, Holiness, and the like, are but various fruits which succeed it.” We Americans are titillated by sex, obsessed by it, horrified by it. When an apparently healthy person, especially a healthy young man, elects to forgo the enticements of the flesh, it shocks us, and we leer. Suspicions are aroused. McCandless’s apparent sexual innocence, however, is a corol¬lary of a personality type that our culture purports to admire, at least in the case of its more famous adherents. His ambivalence toward sex echoes that of celebrated others who embraced wilderness with single-minded passion—Thoreau (who was a lifelong virgin) and the naturalist John Muir, most prominently— to say nothing of countless lesser-known pilgrims, seekers, mis¬fits, and adventurers. Like not a few of those seduced by the wild, McCandless seems to have been driven by a variety of lust that supplanted sexual desire. His yearning, in a sense, was too pow¬erful to be quenched by human contact. McCandless may have been tempted by the succor offered by women, but it paled beside the prospect of rough congress with nature, with the cosmos it¬self. And thus was he drawn north, to Alaska.

In trying to understand McCandless, I inevitably came to reflect on other, larger subjects as well: the grip wilderness has on the American imagination, the allure high-risk activities hold for young men of a certain mind, the complicated, highly charged bond that exists between fathers and sons. The result of this meandering inquiry is the book now before you.

The land is like the garden of Eden before them,” wrote the author of Joel, “but after them a desolate wilderness.

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

Laurie Wilder, who kept asking Davery if he was “really Indian.” (Davery’s mom is African American and his dad is Navajo, and small-minded people like Laurie can’t fathom that folks can be part of two cultures—ignorance like that is another reason Davery and I both left our old public school and transferred to ICCS.)

And even in the open air the stench of whiskey was appalling. To this fiendish poison, I am certain, the greater part of the squalor I saw is due. Many of these vermin were obviously not foreigners—I counted at least five American countenances in which a certain vanished decency half showed through the red whiskey bloating. Then I reflected upon the power of wine, and marveled how self-respecting persons can imbibe such stuff, or permit it to be served upon their tables. It is the deadliest enemy with which humanity is faced. Not all the European wars could produce a tenth of the havock occasioned among men by the wretched fluid which responsible governments allow to be sold openly. Looking upon that mob of sodden brutes, my mind’s eye pictured a scene of different kind; a table bedecked with spotless linen and glistening silver, surrounded by gentlemen immaculate in evening attire—and in the reddening faces of those gentlemen I could trace the same lines which appeared in full development of the beasts of the crowd. Truly, the effects of liquor are universal, and the shamelessness of man unbounded. How can reform be wrought in the crowd, when supposedly respectable boards groan beneath the goblets of rare old vintages? Is mankind asleep, that its enemy is thus entertained as a bosom friend? But a week or two ago, at a parade held in honour of the returning Rhode Island National Guard, the Chief Executive of this State, Mr. Robert Livingston Beeckman, prominent in New York, Newport, and Providence society, appeared in such an intoxicated condition that he could scarce guide his mount, or retain his seat in the saddle, and he the guardian of the liberties and interests of that Colony carved by the faith, hope, and labour of Roger Williams from the wilderness of savage New-England! I am perhaps an extremist on the subject of prohibition, but I can see no justification whatsoever for the tolerance of such a degrading demon as drink.

In certain ancient civilizations and indigenous cultures there was often a process of initiation that young people would go through before they became adults. In some Native American traditions, for example, the initiate would be put out into the wilderness without any food or any other provisions for survival. He would have to rely on the Universe and his own soul. During the experience, the initiate would fast. He would experience himself confronting the Universe alone. He would be out there for a number of days. This would open up the initiate to a direct experience of something beyond the usual egoic mind and all of its concerns. The initiate would be thrust into an experience that would take him beyond his small, limited self. Such a process existed in our own Tradition going back to the Prophet Muhammad, peace be upon him. What was Muhammad doing in a cave when the first revelations of the Qur‘an began if not going through what Native Americans would call a „Vision Quest“? He received direct revelation and inspiration through this practice. (p. 12)

Our mothers and grandmothers, some of them: moving to music not yet written. And they waited. They waited for a day when the unknown thing that was in them would be made known; but guessed somehow in their darkness, that on the day of their revelation they would be long dead.… But this is not the end of the story, for all the young women—our mothers and grandmothers, ourselves—have not perished in the wilderness. And if we ask ourselves why, and search for and find the answer, we will know beyond all efforts to erase it from our minds, just exactly who, and of what, we black American women are.

Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.

Conceive a world-society developed materially far beyond the wildest dreams of America. Unlimited power, derived partly from the artificial disintegration of atoms, partly from the actual annihilation of matter through the union of electrons and protons to form radiation, completely abolished the whole grotesque burden of drudgery which hitherto had seemed the inescapable price of civilization, nay of life itself. The vast economic routine of the world-community was carried on by the mere touching of appropriate buttons. Transport, mining, manufacture, and even agriculture were performed in this manner. And indeed in most cases the systematic co-ordination of these activities was itself the work of self-regulating machinery. Thus, not only was there no longer need for any human beings to spend their lives in unskilled monotonous labour, but further, much that earlier races would have regarded as highly skilled though stereotyped work, was now carried on by machinery. Only the pioneering of industry, the endless exhilarating research, invention, design and reorganization, which is incurred by an ever-changing society, still engaged the minds of men and women. And though this work was of course immense, it could not occupy the whole attention of a great world-community. Thus very much of the energy of the race was free to occupy itself with other no less difficult and exacting matters, or to seek recreation in its many admirable sports and arts. Materially every individual was a multi-millionaire, in that he had at his beck and call a great diversity of powerful mechanisms; but also he was a penniless friar, for he had no vestige of economic control over any other human being. He could fly through the upper air to the ends of the earth in an hour, or hang idle among the clouds all day long. His flying machine was no cumbersome aeroplane, but either a wingless aerial boat, or a mere suit of overalls in which he could disport himself with the freedom of a bird. Not only in the air, but in the sea also, he was free. He could stroll about the ocean bed, or gambol with the deep-sea fishes. And for habitation he could make his home, as he willed, either in a shack in the wilderness or in one of the great pylons which dwarfed the architecture even of the American age. He could possess this huge palace in loneliness and fill it with his possessions, to be automatically cared for without human service; or he could join with others and create a hive of social life. All these amenities he took for granted as the savage takes for granted the air which he breathes. And because they were as universally available as air, no one craved them in excess, and no one grudged another the use of them.

If you want a shortcut to the Eastern European experience, you must have yourself woken from the sarcophagus of a sleeper's ceiling berth by border guards in the night. You must have every light lit. You must be spoken to in a language you understand slightly, or not at all, depending on the kind of estrangement you want. Trains: To a European person, an Eastern European person, a Jewish Eastern European person, they call up cattle cars and extinction as readily as a megaphone in a pickup summons revolution to a Latin American. Emigration, evacuation, extermination, exile - in Russia, a train has carried the quarry. The platform, the engine's weary exhalation, a whistle's hoot and blare, 'the grey wet quay, over a wilderness of rails and points, round the corners of abandoned trucks,' as Graham Greene put it - if we are to speak of the things that divide the Russian mind from the American, we could begin here.

Near our old apartment in Auburn, there is a trail of trees called the George Bengtson Historic Tree Trail, named after a white research forester and plant physiologist at the University of Auburn, Alabama. A great man, I’m sure. These trees are grafted from scions of heritage trees. Among the trees planted: Lewis & Clark Osage Orange. Trail of Tears Water Oak. General Jackson Black Walnut. General Robert E. Lee Sweetgum. Southern Baldcypress. Johnny Appleseed Apple Tree. Mark Twain Bur Oak. Lewis & Clark Cottonwood. Helen Keller Southern Magnolia. Amelia Earhart Sugar Maple. Chief Logan American Elm. Lincoln’s Tomb White Oak. John F. Kennedy Crabapple. John James Audubon Japanese Magnolia. No trees are named for Muskogee, the First People who died in the millions during epidemics, displacement, and land raids. Under the buildings and homes and replanted forests are remnants of Muskogee earthwork mounds, temples, and trenches, a complex network of pre-American cities. There is a single scion named for a northern Indian Iroquois, Chief Logan, another for the Trail of Tears, the only nod to the suffering of Indigenous people. There is no mention of Sacajawea, never mind that Lewis and Clark would’ve been lost in the American wilderness without her. George Washington Carver Green Ash is the only scion named after the Black inventor and scientist. No Black or Native women or femmes are named. No mention of a single civil rights leader, which Alabama birthed aplenty: Coretta Scott King, Rosa Parks, Angela Y. Davis. Imagine a Zora Neale Hurston Sweetgum or a Margaret Walker Poplar.

Even their environments were opposites, and that matters. A painter can paint anywhere; the subject can spring from the painter’s mind. Photographers must be in the presence of their subjects. Stieglitz lived in and photographed a long-tamed landscape, from his skyscraper forests to the fenced pastures of his family’s summerhouse outside the city. Edward could see the snow-capped San Gabriel Mountains from his front porch, and even Los Angeles had been wilderness not that long before.

Wadsworth was riding at the front of the 20th Massachusetts along the Plank Road when the 8th Alabama fired its first volley (No. 1). The flash and surprise stunned his mount, and with Wadsworth pulling on the reins his horse headed straight for the Confederate lines. The division commander gained control of the horse before it entered the enemy’s ranks and was spurring his mount back toward the Bay Staters when a round of small arms fire exploded around him. One of the bullets slammed into his head and sprayed brain matter onto an aide riding next to him, who maintained enough presence of mind to dismount and catch the general as he fell from his horse. After carefully lowering Wadsworth to the ground, the aide concluded the general had been killed instantly, hopped onto the general’s horse, and galloped to safety.