The Art Of John C Van Dyke S The Desert

Since its first appearance in 1901, John C. Van Dyke's The Desert has been considered one of the classics of American nature writing. Before its publication, Americans thought of deserts as scorpion-infested wastelands—with names like Devil's Domain and the Lands That God Forgot. All this changed as The Desert drew attention to the extraordinary beauty that existed in the American West: rolling sand dunes, golden vistas, vibrant sunsets, and remarkable plant and animal life. Van Dyke's book captured the nation's imagination at a time when attitudes about the land were changing. It provided a vocabulary that continues to be used as appreciation of deserts increases and ever greater pressures lead to new calls to protect these fragile environments. With a critical introduction by Peter Wild, this edition offers new insights—and reveals some surprising truths—about this legendary author and his best known work. Van Dyke was not, it seems, the "plaster saint of the desert." He was not entirely honest with his readers about the journeys that inspired the book, and his natural history includes serious errors. But in this more informed reading, Wild notes, Van Dyke "emerges as all the more fascinating a writer and his famous book becomes far more intriguing than most readers have imagined through the decades." As the centennial of its publication approaches and the complex story behind its long success is finally told, this new edition of The Desert reveals an equally complex and dramatic narrative: our changing relationship with the American landscape. "Van Dyke came at just the right time... No sooner had Americans conquered the wilderness, cut down the forests, and slaughtered the buffalo than the romantic nation began sentimentalizing the past, longing for what it had just destroyed."—from the Introduction

A desert classic published in 1901. John Charles Van Dyke (1856-1932) was an American art historian, critic, and nature writer. He was born at New Brunswick, New Jersey, studied at Columbia, and for many years in Europe. In 1878, Van Dyke was appointed the librarian of the Gardner Sage Library at the New Brunswick Theological Seminary, and in 1891 as a professor of art history at Rutgers College. He was elected to the National Institute of Arts and Letters in 1908. When visiting the western deserts, Van Dyke brought his years of Art experience with him when composing this book, The Desert. The result is the visual language of light, air, and color which gives his writing a vivid poetic imagery loved by generations of readers.

In this classic work of natural history, John Charles Van Dyke explores the ecology and geology of the desert landscape. Drawing on his own experiences as a field naturalist, as well as the latest scientific research, he presents a vivid and compelling portrait of this harsh and beautiful environment. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Desert by John Charles Van Dyke, published in 1901, is a lush, poetic description of the natural beauty of the American Southwest. "What land can equal the desert with its wide plains, its grim mountains, and its expanding canopy of sky!" Van Dyke, a cultivated art historian, saw "sublimity" in the desert's "lonely desolation," which previous generations had perceived only as a wasteland, and his book has a conservationist flavor which seems distinctly modern. "The deserts should never be reclaimed," he writes. "They are the breathing spaces of the west and should be preserved for ever." The changing colors of the sky, hills, and sand impress Van Dyke, as do the mirages. He celebrates the "long overlooked commonplace things of nature"-- cactus and grease wood, desert animals, and "winged life," the birds and insects. His writing has a philosophical undertone. "Not in vain these wastes of sand ... simply because they are beautiful in themselves and good to look upon whether they be life or death." Anyone who views with equal awe fiery sunrises and weeds growing out of pavement cracks will enjoy this reading of Van Dyke's The Desert.

This study explores the ways in which the desert, as topographical space and cultural presence, shaped and reshaped concepts and images of America. Once a territory outside the geopolitical and cultural borders of the United States, the deserts of the West and Southwest have since emerged as canonical American landscapes. Drawing on the critical concepts of American studies and on questions and problems raised in recent debates on ecocriticism, The Poetics and Politics of the Desert investigates the spatial rhetoric of America as it developed in view of arid landscapes since the mid-nineteenth century. Gersdorf argues that the integration of the desert into America catered to the entire spectrum of ideological and political responses to the history and culture of the US, maintaining that the Americanization of this landscape was and continues to be staged within the idiomatic parameters and in reaction to the discursive authority of four spatial metaphors: garden, wilderness, Orient, and heterotopia.

The author of The Desert, the book that made that landscape accessible to the mainstream mind, claimed to have wandered "alone on horseback for thousands of miles through the American Southwest and northern Mexico," as his readers--now in the millions since the book was published in 1901--were told. He did not. The desert saint is unmasked by his own recently discovered letters, revealing a privileged, pampered member of the upper-class; his incriminating correspondence shows that he saw most of the desert from plush railroad cars and grand hotel rooms. The editors clear up many misconceptions scholars currently hold about Van Dyke's ecological principles, his outdoorsmanship, and his trip through the desert itself. Unveiled here is a much more varied character than we had supposed--still worthy of admiration for his remarkable accomplishments, and still mysterious, but not the man we thought him to be.