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Three men and three women: a plant collector, a merchant and his novelist wife, a military officer, and two famous women travelers went to China between the Opium War and the formal end of the opium trade, 1842–1907. Their range of perspectives, their acquaintance with one another and their similar scope of travel to Hong Kong, the treaty ports, and Sichuan lend intensity to their picture of China and the Western presence there.

What the travelers record reveals is a continuity in the response of the West and China to each other. Susan Schoenbauer Thurin’s study of these writings presents a rich tapestry of impressions, biases, and cultural perspectives that inform our own understanding of the Victorians and their views of the world outside their own.

The strange mix of opium and missionaries, the aura of fabled “Cathay” and its valuable trade items, the attraction and repulsion of the exotic otherness the travelers experience, reflect the political, religious, and racial views of their era, and explain the allure of the Orient that, in part, characterized their age. Victorian Travelers and the Opening of China, 1842–1907 is a remarkable look into the cultural past.

While the influence of Alexander von Humboldt (1769–1859) looms large over the natural sciences, his legacy reaches far beyond the field notebooks of naturalists. Humboldt’s 1799–1804 research expedition to Central and South America with botanist Aimé Bonpland not only set the course for the great scientific surveys of the nineteenth century, but also served as the raw material for his many volumes—works of both scientific rigor and aesthetic beauty that inspired such essayists and artists as Emerson, Goethe, Thoreau, Poe, and Frederic Edwin Church.

Views of Nature, or Ansichten der Natur, was Humboldt’s best-known and most influential work—and his personal favorite. While the essays that comprise it are themselves remarkable as innovative, early pieces of nature writing—they were cited by Thoreau as a model for his own work—the book’s extensive endnotes incorporate some of Humboldt’s most beautiful prose and mature thinking on vegetation structure, its origins in climate patterns, and its implications for the arts. Written for both a literary and a scientific audience, Views of Nature was translated into English (twice), Spanish, and French in the nineteenth century, and it was read widely in Europe and the Americas. But in contrast to many of Humboldt’s more technical works, Views of Nature has been unavailable in English for more than one hundred years. Largely neglected in the United States during the twentieth century, Humboldt’s contributions to the humanities and the sciences are now undergoing a revival to which this new translation will be a critical contribution.

In 1799, Alexander von Humboldt and Aimé Bonpland set out to determine whether the Orinoco River connected with the Amazon. But what started as a trip to investigate a relatively minor geographical controversy became the basis of a five-year exploration throughout South America, Mexico, and Cuba. The discoveries amassed by Humboldt and Bonpland were staggering, and much of today’s knowledge of tropical zoology, botany, geography, and geology can be traced back to Humboldt’s numerous records of these expeditions.

 

One of these accounts, Views of the Cordilleras and Monuments of the Indigenous Peoples of the Americas, firmly established Alexander von Humboldt as the founder of Mesoamerican studies. In Views of the Cordilleras—first published in French between 1810 and 1813—Humboldt weaves together magnificently engraved drawings and detailed texts to achieve multifaceted views of cultures and landscapes across the Americas. In doing so, he offers an alternative perspective on the New World, combating presumptions of its belatedness and inferiority by arguing that the “old” and the “new” world are of the same geological age.

 

This critical edition of Views of the Cordilleras—the second volume in the Alexander von Humboldt in English series—contains a new, unabridged English translation of Humboldt’s French text, as well as annotations, a bibliography, and all sixty-nine plates from the original edition, many of them in color.

“The story is the Columbia River, not the canoe and me, but I’ve learned that friends can’t hear me tell about the river until they know why I was out there. This is not an adventure story, though some adventure was unavoidable, and I didn’t set out to find myself if I could help it. Nor did I launch the trip with a large point to prove. It was a voyage of discovery, and its telling is the uncovering of surprise on a river I thought I knew…” —Robin Cody, from the prologue

On a June morning in 1990, high up in the Canadian Rockies, Robin Cody pushed his sixteen-foot Kevlar canoe through tall grass and mud to launch it on peaceful Columbia Lake, the nominal source of the river that heaves more water into the Pacific ocean than any other in North or South America. For the next eighty-two days, Cody would portage massive dams and revel in the rapids as the great river plunges 2,700 feet in 1,200 miles before reaching the river’s mouth in Astoria.

Cody’s canoe sneaks up on the bear and moose and raptors and beavers who make a living on the Columbia. He drops in on riverpeople: the trapper, the wind surfer, the archeologist, the lock operator, the native woman who grew up at riverside in a dwelling of tule reeds. With a generous and infectious spirit, Cody draws us into the mysteries of a much-altered and regulated river that is still, at heart, a life-giving place.

This first OSU Press edition of Voyage of a Summer Sun—winner of the Pacific Northwest Booksellers Association Book Award and the Oregon Book Award, and an Oregon State Library choice for “150 Books for the Oregon Sesquicentennial”—includes a new afterword by the author.