Any landscape has an unseen component: a subjective component of experience, memory, and narrative which people familiar with the place understand to be an integral part of its geography but which outsiders may not suspect the existence of—unless they listen and read carefully. This invisible landscape is make visible though stories, and these stories are the focus of this engrossing book.

Traveling across the invisible landscape in which we imaginatively dwell, Kent Ryden—himself a most careful listener and reader—asks the following questions. What categories of meaning do we read into our surroundings? What forms of expression serve as the most reliable maps to understanding those meanings? Our sense of any place, he argues, consists of a deeply ingrained experiential knowledge of its physical makeup; an awareness of its communal and personal history; a sense of our identity as being inextricably bound up with its events and ways of life; and an emotional reaction, positive or negative, to its meanings and memories.

Ryden demonstrates that both folk and literary narratives about place bear a striking thematic and stylistic resemblance. Accordingly, Mapping the Invisible Landscape examines both kinds of narratives. For his oral materials, Ryden provides an in-depth analysis of narratives collected in the Coeur d'Alene mining district in the Idaho panhandle; for his consideration of written works, he explores the “essay of place,” the personal essay which takes as its subject a particular place and a writer's relationship to that place.

Drawing on methods and materials from geography, folklore, and literature, Mapping the Invisible Landscape offers a broadly interdisciplinary analysis of the way we situate ourselves imaginatively in the landscape, the way we inscribe its surface with stories. Written in an extremely engaging style, this book will lead its readers to an awareness of the vital role that a sense of place plays in the formation of local cultures, to an understanding of the many-layered ways in which place interacts with individual lives, and to renewed appreciation of the places in their own lives and landscapes.

Proponents of the new regional history understand that regional identities are constructed and contested, multifarious and not monolithic, that they involve questions of dominance and power, and that their nature is inherently political. In this lively new book, writing in the spirit of these understandings, Kent Ryden engagingly examines works of American regional writing to show us how literary partisans of place create and recreate, attack and defend, argue over and dramatize the meaning and identity of their regions in the pages of their books.

 

Cleverly drawing upon mathematical models that complement his ideas and focusing on both classic and contemporary literary regionalists, Ryden demonstrates that regionalism, in the cultural sense, retains a great deal of power as a framework for literary interpretation. For New England he examines such writers as Robert Frost and Hayden Carruth, Mary E. Wilkins Freeman and Edith Wharton, and Carolyn Chute and Russell Banks to demonstrate that today’s regionalists inspire closer, more democratic readings of life and landscape. For the West and South, he describes Wallace Stegner’s and William Faulkner’s use of region to, respectively, exclude and evade or confront and indict. For the Midwest, he focuses on C. J. Hribal, William Least Heat-Moon, Paul Gruchow, and others to demonstrate that midwesterners continually construct the past anew from the materials at hand, filling the seemingly empty midlands with history and significance.

 

Ryden reveals that there are many Wests, many New Englands, many Souths, and many Midwests, all raising similar issues about the cultural politics of region and place. Writing with appealing freshness and a sense of adventure, he shows us that place, and the stories that emerge from and define place, can be a source of subversive energy that blunts the homogenizing force of region, inscribing marginal places and people back onto the imaginative surface of the landscape when we read it on a place-by-place, landscape-by-landscape, book-by-book basis.