Patrick D. Morrow

Bio: Patrick D. Morrow is an academic researcher. The author has contributed to research in topics: Poetry & Local color. The author has an hindex of 2, co-authored 5 publications receiving 30 citations.

Annual Bibliography of Studies in Western American Literature

Abstract: W hat London seems to be suggesting, then, in “T o Build a Fire,” is not any kind of animalistic return for man to a presymbolic state of existence in order to survive; on the contrary, he seems to strongly imply that animals survive through instinct; men of limited mental capacity fail; and that human beings who exercise good judgment, tempered with emotional insights are the human beings who win out over a hostile environment. J a m e s K . B o w e n , Southern Oregon College

Bret Harte, Popular Fiction, and the Local Color Movement

Abstract: T he name Bret H arte is widely associated with sentimentality, a dandy Victorian prose, and a falsified, “literary” view o f the West. On the positive side, H arte is rem em bered for his scathing satires, his parodies o f contem porary literary figures, and for being an originator o f the local color movement. Just what this term “local color” means, and the complex questions o f its relationship to regionalism, the West, and realism, form involved and moot issues. Personally, I regard a regionalist as a spokesman for any area at any time. I see local color as characteristic, picturesque folkways o f an area, as well as being a definite literary m ovem ent and a positivethinking spirit. But by definition, definitions have their limitations. Today, over one-hundred years after the local color movem ent began, these questions o f in terpretation and relationship continue to be asked, and these issues still rem ain unresolved. Ham lin Garland wrote the standard definition o f local color in the 1890’s, explaining that this branch o f writing “has such quality o f texture and background that it could not have been written in any o ther place o r by anyone else than a native.”1 This definition sounds so simple, reasonable, and convincing that somehow it ought to be true — which it isn’t. H arte, for example, left his native New York as a teen-ager; and later he left California for the East Coast after proving that there was m ore gold to be found in writing about the locals than in panning streams with them . It is now generally accepted that H arte spent less time on the M other Lode than many o f today’s enthusiastic tourists. A lthough he wrote about California’s gold rush period for forty years, H arte lived only eighteen o f his sixty-six year life span in California, and he spent most o f those eighteen years residing in the m etropolitan San

The Land before Her: Fantasy and Experience of the American Frontiers, 1630-1860.

Abstract: To discover how women constructed their own mythology of the West, Kolodny examines the evidence of three generations of women's writing about the frontier. She finds that, although the American frontiersman imagined the wilderness as virgin land, an unspoiled Eve to be taken, the pioneer woman at his side dreamed more modestly of a garden to be cultivated. Both intellectual and cultural history, this volume continues Kolodny's study of frontier mythology begun in The Lay of the Land .

The Indian Man: A Biography of James Mooney

Abstract: The Indian Man examines the life of James Mooney (1861-1921), the son of poor Irish immigrants who became a champion of Native peoples and one of the most influential anthropology fieldworkers of all time. As a staff member of the Smithsonian Institution for over three decades, Mooney conducted fieldwork and gathered invaluable information on rapidly changing Native American cultures across the continent. His fieldwork among the Eastern Cherokees, Cheyennes, and Kiowas provides priceless snapshots of their traditional ways of life, and his sophisticated and sympathetic analysis of the 1890 Ghost Dance and the consequent tragedy at Wounded Knee has not been surpassed a century later. L. G. Moses is a professor of history at Oklahoma State University. He is the author of Wild West Shows and the Images of American Indians, 1833-1933.

Pre-Raphaelite and Working-Class poetry, 1850-1900 : an examination of a contiguous tradition

Abstract: This thesis closes an existing gap within the field of Victorian poetry scholarship, as the relationship between Pre-Raphaelite and working-class poets has yet to be explored in depth by critics, in part because they superficially appear to be disparate. I argue that a contiguous tradition exists between the two groups which reveals connections through; shared political agendas, the use of the past to change tastes and ideas in the present, connections between imagery and form, and the use of contemporary events to modify public perceptions of their poetry. This focus is of significance to critics of the Victorian period because it is not necessary to prove that an individual poet or group has an influence over another. As a result, this thesis does not principally concern itself with the power relationships which are of interest to a New Historicist critic; rather it employs elements of Cultural Neo-Formalist criticism and Cultural Materialism. What emerges is an expanded notion of what constitutes Victorian high culture, as well as a more nuanced picture of social stratification. The first three chapters uncover exchanges between the poets, which are evidenced in material culture, through Pre-Raphaelite patronage of working-class poets and, via an engagement with contemporary print culture. Later chapters focus upon issues relating to poetic form, imagery, setting and particular modes of expression. The contiguous relationship which links the groups emerges through a focus upon a shared employment of the themes and voices of the French Medievalist past, the anti-pastoral, the chivalric-grotesque and war poetry. The arguments constructed within these chapters challenge the cultural position of the groups, and thus call into question critical expectations of their work. It paves the way for future work, which clarifies the distinctions and similarities between the poets and gives a clearer and nuanced picture of their interactions.

The Eastern Establishment and the Western Experience: The West of Frederick Remington, Theodore Roosevelt, and Owen Wister.

Abstract: Preface Preface to the Paperback Edition Introduction Part I: The East 1. The Formation of an Eastern Establishment 2. Easterners and the Western Experience, 1835-1885 3. Remington, Roosevelt, Wister: The East and Adolescence Part II: The West 4. Roosevelt's West: The Beat of Hardy Life 5. Remington's West: Men with the Bark On 6. Wister's West: The Cowboy as Cultural Hero Part III: East and West in the Decade of Consensus 7. The Rough Riders: Regiment of True Americans 8. Technocracy and Arcadia: Conservation under Roosevelt 9. Remington, Roosevelt, Wister: Consensus and the West References Index

Annual Bibliography of Studies in Western American Literature

Abstract: W hat London seems to be suggesting, then, in “T o Build a Fire,” is not any kind of animalistic return for man to a presymbolic state of existence in order to survive; on the contrary, he seems to strongly imply that animals survive through instinct; men of limited mental capacity fail; and that human beings who exercise good judgment, tempered with emotional insights are the human beings who win out over a hostile environment. J a m e s K . B o w e n , Southern Oregon College