Kirjahaku

A Week on the Concord and Merrimack Rivers and Walden, the only works Thoreau conceived and brought to conclusion as books, bear a distinctively important relation to each other and to his Journal, the document whose twenty-four-year composition encompasses their development. In a brilliant new book, H. Daniel Peck shows how these three works engage one another dialectically and how all of them participate in a larger project of imagination. "Morning work," a phrase from Walden, is the name Peck gives to this larger project. by it he means the work done by memory and perception as they act to shape Thoreau's emerging vision of a harmonious universe. Peck argues that the changing balance of memory and perception in the three works defines the unique literary character of each of them. He offers a major reevaluation of Walden, which he sees neither as the epitome of Thoreau's career (the traditional view) nor as an anomaly (the recent, revisionary view). Rather, he sees Walden as a pivotal work, reflecting the issues of loss and remembrance that earlier had found prominent expression in A Week and prefiguring the late Journal's vision of natural order. Focusing on the two-million-word Journal, Peck provides the first critical analysis that defines the essential forces and the imaginative coherence in its vast discursiveness. The consideration of memory and perception in Thoreau also leads peck to the issue of the writer's modernity, and he explores the ways in which Thoreau anticipates twentieth–century thought, especially in the works of such great objectivist philosophers as William James and Alfred North Whitehead.

Thomas Cole, an internationally renowned artist, centered his art and life in Catskill, New York. From his vantage point near the village, he cast his eyes on the wonders of the Catskill Mountains and the swiftly flowing Catskill Creek. These landscapes were sources of enduring inspiration for him. Over twenty years, Cole painted one view of the Catskill Mountains at least ten times. Each work represents the mountains from the perspective of a wide river bend near Catskill, New York. No other scene commanded this much of the artist's attention. Cole's Catskill Creek paintings, which include works central to American nineteenth-century landscape art, are an integral series. In Thomas Cole's Refrain, H. Daniel Peck explores the patterns of change and permanence in the artist's depiction of a scene he knew first-hand. Peck shows how the paintings express the artist's deep attachment to place and region while illuminating his expansive imagination. Thomas Cole's Refrain shows how Cole's Catskill Creek paintings, while reflecting concepts such as the stages of life, opened a more capacious vision of experience than his narrative-driven series, such as The Voyage of Life. Relying on rich visual evidence provided by paintings, topographic maps, and contemporary photographs, Peck argues that human experience is conveyed through Cole's embedding into a stable, recurring landscape key motifs that tell stories of their own. The motifs include enigmatic human figures, mysterious architectural forms, and particular trees and plants. Peck finds significant continuities—personal and conceptual—running throughout the Catskill Creek paintings, continuities that cast new light on familiar works and bring significance to ones never before seen by many viewers.