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Flannery O’Connor - A Journey Through Literary America
A Journey Through Literary America
  • Flannery O’Connor
  • December29th

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    Former Vermonter Creates an American Literary Journey
    State of the Arts
    By Amy Lilly

    When you read poems or novels, you may wonder how much they reflect the authors’ own experiences — particularly when their work is strongly rooted in a sense of place. Think Willa Cather and the Nebraska plains, or Langston Hughes and the streets of Harlem.

    For ex-Vermonter and literature enthusiast Thomas R. Hummel, writers’ firsthand experiences of place are fascinating in themselves — and have become the subject of his beautifully produced coffee-table book A Journey Through Literary America. Now settled with a family in California, Hummel grew up in Burlington and earned his bachelor’s in English and German literature at Middlebury College in 1990. It was partly his fond memories of the Queen City that inspired him to look into how this country’s writers experienced the places they wrote about.

    For the book, Hummel wrote absorbing bios of 26 American writers, four of them poets, whom he chose from an original list of 50 authors “who wrote with a descriptive sense of place.” Photographer Tamra L. Dempsey drove 15,000 miles over the course of a year to shoot the houses, neighborhoods and skylines that helped shape those authors’ writing. The subjects of her gorgeous, mood-evoking shots range from Flannery O’Connor’s Georgia farm, Andalusia, to the fields that inspired Robert Frost (the only Vermont author featured), to the rocky Pacific coastline where Robinson Jeffers built Tor House out of stone.

    Um, Robinson Jeffers? The 1920s poet, whose work was profoundly shaped by place, “was once one of the most famous poets in America. Then his work fell by the wayside,” Hummel explains by phone from the printing house where he works in Marina del Rey, and which also printed his book. Including Jeffers “was an attempt to bring him back into the American canon, in my own small way,” he adds with a laugh.

    Other choices are more obvious: Hawthorne and New England, E. Annie Proulx and Wyoming. Hemingway is included for his connections not to Paris or Spain but to Walloon Lake, Mich. On the other hand, Emily Dickinson did not make the cut, Hummel recalls, because “hers is not really location-based writing.”

    A Journey Through Literary America is not a guide to literary landmarks. (The book doesn’t clarify, for instance, that Emerson lived at the Old Manse in Concord, Mass., for only a year, in 1834, while Hawthorne’s family moved in later, in 1842, and stayed for three years.) “We were investigating the locales that inspired great American writers, as opposed to the spots where they laid their heads,” Hummel says. ?

    His essays on these locales and their immortalizers blend historical details — such as moments in war or politics that predate an author’s arrival, or trends in art history that helped shape an authorial viewpoint — with a sense of each writer as a person. Emerson wooed his second wife, Lidia, by letter, then “rechristened [her] as the more poetic ‘Lidian.’” Faulkner and Hemingway, who both “wanted desperately to be heroes in the Great War,” “each saw a good tailor and returned [from noncombat roles] resplendent in a uniform that was better than standard issue.”

    If the book’s arresting photographs threaten to upstage its text, that’s only fitting: Hummel originally “figured the photographs were the key thing, and I’d write short little blurbs about each writer. But when I started reading the authors, I realized you had to do them justice,” he says.

    He hopes the book inspires others to read American fiction — and possibly become writers themselves. Readers are invited to compose their own place-based recollections for the My Hometown Writing Contest, to be judged by Hummel, his editor, Malena Watrous, and his sister, Maria Hummel, a novelist and former Bread Loaf fellow who teaches writing at Stanford University. “There’s a lot that anybody can say about the place where they grew up, and there should be a venue for that,” says Hummel, a nascent writer himself. “And, who knows, there might be another book in that, too.”

    Original: http://www.7dvt.com/2009former-vermonter-creates-american-literary-journey

  • August2nd

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    A few of the press proofs. On the top is Kaaterskill Falls, New York, the best place Leatherstocking ever found in the woodsJuly 31

    Today we uploaded the files for the jacket and the endsheets. The only element that hasn’t been sent off to Toppan Printing is the layout for the foil stamping on the spine of the book. After two years and seven months of inspiration, travel, and toil, A JOURNEY THROUGH LITERARY AMERICA is on the verge of being fully realized. Only a slight sliver of foil remains.

    We have seen first and second proofs for the main part of the book. These are called “press proofs” or sometimes “wet proofs.” They are printed on the same paper that the book will eventually be printed on (Japanese Oji White A Matte), on proofing presses that aren’t as large as the behemoths that will print the book, but are still quite formidable pieces of equipment. So, what I am actually holding in my hand is about as good a facsimile of how the book will look when it is finally printed as one could get. Sadly, press proofs are on their way to becoming an obsolete technology, to be replaced by digital proofs.

    Main Street o Sinclair Lewis's home town - Sauk Centre, Minnesota

    It still seems like magic to me how, using the bright inks of cyan, magenta and yellow—in shades which seem the opposite of “rich”—combined with black, the printer can reproduce anything from Monet to Manuel Alvarez Bravo—and everything in between and besides. There is artistry, often overlooked, involved in the separation of the colors to CMYK (cyan, magenta, yellow, black). More about that later, perhaps. What I should say now is that the proofs are looking very fine. I do not believe I am saying this as a father would say he loves his son. For in the 12 years I have been working at Toppan I believe I have overseen close to one thousand projects, and I believe I have attained a level of objective distance, professional detachment—enough perspective to look coolly on in judgment. I look at these proofs and the quality of the reproduction of the images—and the proofing—looks first rate. I owe it all to photographer and designer Tamra Dempsey and to Bright Arts colour separation house in Hong Kong.

    Thoreau's cabin at Walden Pond

     

    Now we just waiting to see a few dangling elements: the long awaited map, and the front matter and back matter. The front matter includes the title page, half-title page. copyright page, preface, and table of contents. All of these things I knew about but I was always fuzzy on until the wheel turned and it was my own book. The back matter includes the map, the footnotes, and endnotes, a few odds and ends. My father was an English teacher at Rice High School in Burlington, Vermont for over thirty years. He taught term paper writing by the book, with index cards, outlines, footnotes and bibliographies, and trips to the University of Vermont library (which seemed immense at the time) to do research. There was no way that this book, my first, would go without endnotes and a bibliography—compelling evidence of a well-researched work. In fact, at last count, it had 388 endnotes. They are unobtrusive. Just like the two extra buttons a shirtmaker sews on a dress shirt below all the others. There if you need them. Don’t let the endnotes throw you; A JOURNEY THROUGH LITERARY AMERICA is not written in the prose of high academia. It is a book about the lives of some of the most interesting people who ever walked the American earth – America’s writers – and the places that inspired them, with over 140 photographs, and hand drawn maps by Sinclair Lewis and William Faulkner. The book would appeal to anyone from a perspicacious high school student on up.

    I am not sure if it was the best idea to start this blog “in the middle of things.” But perhaps this brings you closer to the (measured) excitement I feel than if I had anesthetized you first with relentless verbiage (the term has always made me think that was what rabbits would eat, if they ate words) about the book, its origins, purpose, etc.

    Georgia peacock - from the Flannery O'Connor entry