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The Spell of the Sensuous: Perception and Language in a More-than-Human World

M austin’s ‘the land of little rain’ (1903) has a secure place as a pioneering American environmental text,1 though what remains most challenging to contemporary readers is Austin’s blurring of the romantic with the real, of the human with the nonhuman, of the spiritual with the material.2 As an environmental text with claims both to realistic objectivity and mystical insight, The Land of Little Rain is difficult not only to interpret, but also, as Austin’s personal friend and collaborator Ansel Adams demonstrated, to illustrate.3 Adams’ well-known photographic illustrations in a 1950 edition of the text capture only partial glimpses of Austin’s land: the aridity, the harsh or dramatic vistas and mountains, the curious rock formations, the noman’s land parameters of the region.4 What Adams’ photographs do not (or perhaps cannot) capture are Austin’s equally romantic efforts to reveal a high desert region filled with sensuous, intricate, nurturing (but sometimes deadly) communal relationships between human and non-human life. In fact, one of the most striking images in the text is Austin’s consuming and repeatedly-stated passion for the beauty of “desertness,” a concept she associates both with the physical land and with its spiritual nurturance (Land 5). Like other past and present environmental writers, Austin laments the deleterious aspects of capitalist consumer culture to the environment; however, in The Land of Little Rain, she promotes a different kind of consumerism, one which deliberately mixes the “color of romance” (17) with an often harsh realism to stimulate in her readers a metaphoric appetite for the spiritual and sensory delights of the region. Unlike the brutish capitalist consumerism she credits to

Beverly A. Hume

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Austin's Consuming "Desertness" in The Land of Little Rain