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Viewing: Blog Posts Tagged with: literature, Most Recent at Top [Help]
Results 1 - 25 of 2,272
1. Shakespeare and performance: the 16th century to today [infographic]

In the sixteenth and early seventeenth centuries, Shakespeare's plays were performed at professional playhouses such as the Globe and the Rose, as well as at the Inns of Court, the houses of noblemen, and at the Queen's palace. In fact, the playing company The Queen's Men was formed at the express command of Elizabeth I to [...]

The post Shakespeare and performance: the 16th century to today [infographic] appeared first on OUPblog.

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2. The old age of the world

At the home of the world’s most authoritative dictionary, perhaps it is not inappropriate to play a word association game. If I say the word ‘modern’, what comes into your mind? The chances are, it will be some variation of ‘new’, ‘recent’, or ‘contemporary’.

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3. Coetzee’s Dialogues: Who says who we are?

Throughout his career, J. M Coetzee has been centrally preoccupied with how to tell the truth of an individual life, most of all, how to find the appropriate narrator and fictional genre. Many of his fifteen novels disclose first person narrators in a confessional mode, and so it is not altogether surprising that his latest book is a dialogue with a psychoanalytic psychotherapist, in which they explore together notions of selfhood, repression, disclosure and the nature of communication.

The post Coetzee’s Dialogues: Who says who we are? appeared first on OUPblog.

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4. Remembering H.D. on her 130th birth anniversary

American-born, British citizen by an ill-fated marriage, the modernist writer Hilda Doolittle (H.D.) was wary of nationalism, which she viewed as leading inevitably to either war or imperialism. Admittedly, she felt—as she wrote of one of her characters—“torn between anglo-philia and anglo-phobia,” and like all prominent modernists of her day, her views were probably not as enlightened as ours.

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5. Is Shakespeare racist?

Just as there were no real women on Shakespeare's stage, there were no Jews, Africans, Muslims, or Hispanics either. Even Harold Bloom, who praises Shakespeare as 'the greatest Western poet' in The Western Canon, and who rages against academic political correctness, regards The Merchant of Venice as antisemitic. In 2014 the satirist Jon Stewart responded to Shakespeare's 'stereotypically, grotesquely greedy Jewish money lender' more bluntly.

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6. Shakespeare’s clowns and fools [infographic]

Fools, or jesters, would have been known by many of those in Shakespeare's contemporary audience, as they were often kept by the royal court, and some rich households, to act as entertainers. They were male, as were the actors, and would wear flamboyant clothing and carry a ‘bauble’ or carved stick, to use in their jokes.

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7. Exotic – Episode 38 – The Oxford Comment

The word “exotic” can take on various different meanings and connotations, depending on how it is used. It can serve as an adjective or a noun, to describe a commodity, a person, or even a human activity. No matter its usage, however, the underlying perception is that is refers to something foreign or unknown, a function which can vary greatly in unison with other words, from enriching the luxury status of commodities, to fully sexualizing a literary work of psychology and anthropology, such as the Kamasutra.

In this episode of the Oxford Comment, we sat down with Eleanor Maier, Senior Editor at the Oxford English Dictionary, Giorgio Riello, co-author of Luxury: A Rich History, Wendy Doniger, author of Redeeimg the Kamasutra, Jessica Berson, author of The Naked Result: How Exotic Dance Became Big Business, and Rachel Kuo, contributing writer at everydayfeminism.com, to learn more about the history and usage of the word.

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8. The OWC Podcast: Pride and Prejudice by Jane Austen

Pride encounters prejudice, upward-mobility confronts social disdain, and quick-wittedness challenges sagacity, as misconceptions and hasty judgments lead to heartache and scandal, but eventually to true understanding, self-knowledge, and love. In this supremely satisfying story, Jane Austen balances comedy with seriousness, and witty observation with profound insight. If Elizabeth Bennet returns again and again to her letter from Mr Darcy, readers of the novel are drawn even more irresistibly by its captivating wisdom.

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9. Fascinating facts about man’s best friend

Dogs have historically performed many roles for humans, such as herding, protection, assisting police, companionship, and aiding the handicapped. The tale of "man’s best friend" is a lengthy and intimate history that has lasted for thousands of years, and transcends modern cultural boundaries. Canines appear as poignant characters with symbolic meaning in mythological stories, famous works of art, and religious texts.

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10. August excerpt: Looking for “The Stranger”

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“Existentialist Twins”*

Although few Americans had read The Stranger in French—it had been hard enough to find a copy in wartime France—word of the novel had crossed the ocean. Blanche Knopf had founded the US publishing  house Alfred A. Knopf, Inc., with her husband Alfred in 1945, and she had a special interest in publishing English translations of contemporary European literature. She had been cut off from France for the duration of the war, but by February 1945 she was back in touch with Jenny Bradley, Knopf’s agent in Paris. Sartre had lauded a new Camus novel, still in manuscript, called The Plague, in a lecture he gave at Harvard, and Blanche Knopf cabled Bradley, asking to see the proofs. The Plague, with its link to the suffering and heroism of France during the German occupation, was bound to make a splash, and she understood that Knopf might also have to buy The Stranger in order to get it. Alfred Knopf cabled Bradley in February, eager to acquire The Plague, although Camus hadn’t yet finished it, but he was still hesitating about The Stranger. In March 1945, he made up his mind and offered $350 for it.

***

Not an ideological or interpretive divide, not even an aesthetic quarrel, but rather a question of timing and marketing explains why L’Étranger and The Outsider were born into the English language as fraternal twins—same text, different typography, covers, and titles. The doubling has continued to this day, even as new translations have replaced Gilbert’s: no matter who is translating, the British edition is called The Outsider, the American edition The Stranger. Books about The Stranger/The Outsider, when they’re published in both the United States and England, have to keep the titles straight for each country or risk disorienting readers. If you ask someone, English or American, which title they prefer, chances are they will answer: “the one I’m used to.”

In England, Jamie Hamilton was certain he had a bestseller on his hands, and he planned a first print run of 10,000 copies—over twice Gallimard’s wartime print run on 4,400. At Knopf, there was much more hesitation. In-house readers’ reports were less than stellar.

Herbert Weinstock, a specialist in nineteenth-century opera and a Knopf advisor, had this to say about the novel: “This extended short story (the translation does not exceed 30,000 words) is a pleasant, unexciting reading. It seems to me neither very important nor very memorable—and it also seems to me to be padded with extraneous detail.” He attributed the piling up of details, the flat tone, and what he called “deliberate artlessness” to a “philosophic theory called existentialism,” of which The Stranger could be considered a demonstration: “My best guess is that it will appeal to very few readers and produce something less than a sensation”

Knopf’s publicists had a formidable task. As The Stranger was about to go on sale in American bookstores, the publisher placed a full-page advertisement in Publishers Weekly (an American trade magazine for publishers, librarians, booksellers, and literary agents). It was signed by Blanche Knopf and entitled “On the New Literature of France.” Jamie Hamilton referred to it as “Blanche’s existentialist ad.” She was going to do everything possible to make The Stranger accessible and exciting.

The advertisement began by sympathizing with the average reader’s dilemma: “There is no use trying to talk about new French literature unless you are willing to tackle ‘existentialism.’ Now this is a frightening word. . . . Everyone likes to show that he can pronounce it, but no one enjoys undertaking to define it. Well, here goes.”

Existentialism, the ad continued, is the notion that a consciousness of the universe’s meaninglessness can make us free. Passing mention was then made of the fact that Camus, whose somber countenance gazed out from the upper right of the page, refused to be classified with the existentialists, because their emphasis on meaninglessness was at odds with his belief in political justice. The author of The Stranger was introduced as a man who had lived a double life during the Occupation—publishing with the approval of the Nazi censor while editing a Resistance newspaper underground. The Stranger was then presented in a few words—a novel as simple and straightforward as John Steinbeck’s Of Mice and Men.

Pitching The Stranger as both a lofty existentialist work and a straightforward populist novel was clever, since reviewers could take up either strand, high or low. Pitching Camus as an existentialist and a champion for social justice was also a good idea—here was an author both intelligent and heroic. After a month of what Blanche Knopf considered “fantastic” press, 2,500 copies of the novel had sold. In 1946, The Stranger was not yet a bestseller. In the long run, the ad accomplished something more important than immediate sales: it introduced Camus to American magazine and newspaper publishers as a leading figure of a school of French literature called “existentialist,” and it established that school as the most important new intellectual current coming out of France.

You would have to read the advertisement in Publishers Weekly more than once to glean that Camus disavowed the existentialist label, and that in fact he detested it. He joked in an interview with a French magazine that he and Sartre decided they ought to put out their own ad “stating that the undersigned have nothing in common and refuse to respond to any debts they might have incurred mutually.” Yet it was Sartre who prepared the way for Camus’s New York welcome.

New York had been a privileged refuge for exiled intellectuals during the Occupation years, and as of 1945, when travel became possible once again on the big liberty and cargo ships, Sartre, Camus, and Beauvoir all made the trip. Sartre was first. In spring 1945, he filed stories from New York for both Combat and Le Figaro, and he returned in 1946 to speak to American universities about the literary scene in Paris.

In Vogue magazine, in 1945, Sartre described Camus as the emblematic writer to emerge from the Resistance—the only writer who corresponded to his theory of a “committed literature” essential to France’s renewal. Sartre had read an early version of Camus’s forthcoming novel, The Plague, in manuscript, and he was ready to vouch that the world was about to see a new Camus: the absurdity of the world in The Stranger and The Myth of Sisyphus gave way in this new work to positive revolt and struggle. The Plague, based on Camus’s own commitment to the Resistance, demonstrated that the human spirit could come to rule over “the absurd world.” Sartre described, as he had done in the Cahiers du Sud essay in 1943, Camus’s somberness and his debt to the classical moralists, though now he underlined the potential of those qualities for a literature to come: “It is likely that in the somber, pure work of Camus are discernible the principal traits of the French letters of the future.”

For Sartre, Camus represented most vividly the aspirations of postwar literature at a shining moment when writers and intellectuals felt the world was theirs to remake. No other writer could have fit the bill for Sartre: Malraux was too much of an individualist; Guéhenno and Mauriac, much older men, had refused to publish above ground, and the Communists were indebted to their own masters. Camus had done exactly what needed to be done during the Occupation: he had marked time but he hadn’t accepted the oppression; he had chosen struggle rather than silence. At thirty-two years old in 1945, he had reached the perfect age when youth meets maturity.

In January 1946, speaking to students at Yale about the French view of the American novel, Sartre singled out The Stranger as “the French novel which caused the greatest furor between 1940 and 1945.” He placed his emphasis differently in this American context than he had in his Cahiers du Sud essay of 1943. Gone in his American lecture are references to Voltaire and the eighteenth-century morality tale. His focus now was on Camus’s debt to Hemingway, the short disruptive sentences that in Hemingway were a feature of the writer’s temperament but in Camus were rather a deliberate technique for expressing a philosophy of the absurd. Sartre entertained his audience with stories of the symbolic value of American literature when France was under German Occupation. He described the Café de Flore as the headquarters for a black market in American books. Not only did reading Faulkner and Hemingway novels become a symbol of resistance, he claimed, it was even the case—he couldn’t resist a joke—that secretaries “believed they could demonstrate against the Germans by reading Gone with the Wind in the Metro.” Sartre promised his audience, three months before the English-language publication of The Stranger, that French novels written during the Occupation would start to appear in translation. He was rolling out a thick red carpet for his friend.

*This excerpt has been adapted from Looking for “The Stranger”: Albert Camus and the Life of a Literary Classic by Alice Kaplan (2016).

***

To read more about Looking for “The Stranger,” click here.

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11. Ben-Hur: tracing the iconic novel and films through history

The latest film adaptation of the story of fictional Jewish noble Judah Ben-Hur is premiering in theaters today. You’ve probably seen the 1959 film version starring Charlton Heston, but do you know about the story’s rich history and impact over the last 136 years?

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12. Paradoxes logical and literary

For many months now this column has been examining logical/mathematical paradoxes. Strictly speaking, a paradox is a kind of argument. In literary theory, some sentences are also called paradoxes, but the meaning of the term is significantly different.

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13. The life and work of H.G. Wells: a timeline

August 13th marks the 150th birth and the 70th death anniversary of legendary science fiction writer H.G. Wells. A prophet of modern progress, he accurately predicted several historical advancements, from the World War II, nuclear weapons, to Wikipedia.

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14. How did you approach setting the Shakespeare text you chose for your recent work?

Shakespeare has inspired countless and varied performances, works of art and pieces of writing. He has also inspired music. In this 400th year since Shakespeare's death we asked five composers 'how did you approach setting the Shakespeare text you chose for your recent work?'

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15. 5 Edinburgh attractions for booklovers [slideshow]

The Edinburgh Fringe is in full swing with over 3,000 arts events coming to the vibrant Scottish capital over the next few weeks. With the International Book Festival kicking off on the 13th, we’ve compiled our favourite bookish spots around the city for you to squeeze into your schedule.

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16. Remembering Montrell Jackson’s ethic of mutuality

In a poignant post to his Facebook page on 8 July, police officer Montrell Jackson offered a “hug” and “prayer” to those he met as he patrolled the streets of his native Baton Rouge, Louisiana.

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17. Mole and Rat: A chancing friendship

National Friendship Day was originally founded by Hallmark as a promotional campaign to encourage people to send cards, but is now celebrated in countries across the world on the first Sunday in August. This post celebrates the friendship of two of our favorite characters from classic literature, Rat and Mole from The Wind in the Willows.

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18. Shakespeare and the natural world [infographic]

It is probable that Shakespeare observed, or at least heard about, many natural phenomena that occurred during his time, which may have influenced the many references to nature and science that he makes in his work. Although he was very young at the time, he may have witnessed the blazing Stella Nova in 1572.

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19. What would Shakespeare drive?

Imagine a Hollywood film about the Iraq War in which a scene at a clandestine Al-Qaeda compound featuring a cabal of insurgents abruptly cuts to a truck-stop off the New Jersey Turnpike. A group of disgruntled truckers huddle around their rigs cursing the price of gas. An uncannily similar coup de thèâtre occurs in an overlooked episode in 1 Henry IV.

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20. Best beach classics: the books you should be reading this summer

In a recent article for The Huffington Post, journalist Erin Schumaker advises students not to let their brains waste away over the summer: "you might be better off skipping the beach read this summer in favor of something a little more substantive." Yet some of us might find the idea of settling down on a sun lounger with War and Peace less than appealing. To help you out, we asked staff at Oxford University Press for a list of summer classics that will help you relax without letting your brain get lazy!

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21. How A. K. Ramanujan mirrored Aldous Huxley

In the 1950s and 60s a cross-section of psychologists, writers and artists in America, partly inspired by Aldous Huxley’s essay The Doors of Perception published in 1954, experimented with hallucinogenics like LSD, mescaline, mushrooms, and hashish to venture into new realms of experience, seeking the “hidden” reality of the self and the world and probing into the meaning of art to locate their inner vision.

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22. Musical literacy in Shakespeare’s England

It is a commonplace to say that, in Renaissance England, music was everywhere. Yet, however true the statement is, it obscures the fact that music existed in many different forms, with very different functions and very different meanings.

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23. Musical literacy in Shakespeare’s England

It is a commonplace to say that, in Renaissance England, music was everywhere. Yet, however true the statement is, it obscures the fact that music existed in many different forms, with very different functions and very different meanings.

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24. How A. K. Ramanujan mirrored Aldous Huxley

In the 1950s and 60s a cross-section of psychologists, writers and artists in America, partly inspired by Aldous Huxley’s essay The Doors of Perception published in 1954, experimented with hallucinogenics like LSD, mescaline, mushrooms, and hashish to venture into new realms of experience, seeking the “hidden” reality of the self and the world and probing into the meaning of art to locate their inner vision.

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25. On the anniversary of the Mann Gulch wildfire

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Reader’s note: last year, to honor the anniversary of the Mann Gulch wildfire, we posted the below note, along with an excerpt from Norman Maclean’s Young Men and Fire. Today marks 67 years since the events of August 5, 1949, so in tribute, we repost the excerpt and its accompanying introduction. More on the matter, of course, can be gleaned from Maclean’s singular work, while additional background on its author can be found in this weekend’s New York Times Magazine, where a piece on fly-fishing in Montana turns into a meditation on Maclean’s writing and life.

***

August 5, 2015, marks the 66th anniversary of the Mann Gulch wildfire, which eventually spread to cover 4,500 acres of Montana’s Gates of the Mountain Wilderness in Helena National Forest, and claimed the lives of 12 of the 15 elite US Forest Service Smokejumpers, who acted as first responders in the moments before the blaze jumped up a slope and “blew up” its surrounding grass. Haunted by the event, Montana native, author, and former University of Chicago professor Norman Maclean devoted much of his life’s work to researching and writing an account of the events that unfolded that first week of August 1949, which would met publication posthumously two years after Maclean’s death as Young Men and FireThe book, now considered a classic reconstruction of an American tragedy and a premier piece of elegiac memoir qua historical non-fiction, went on to win a National Book Critics Circle Award in 1992. Below follows an excerpt.

***

Then Dodge saw it. Rumsey and Sallee didn’t, and probably none of the rest of the crew did either. Dodge was thirty-three and foreman and was supposed to see; he was in front where he could see. Besides, he hadn’t liked what he had seen when he looked down the canyon after he and Harrison had returned to the landing area to get something to eat, so his seeing powers were doubly on the alert. Rumsey and Sallee were young and they were crew and were carrying tools and rubbernecking at the fire across the gulch. Dodge takes only a few words to say what the “it” was he saw next: “We continued down the canyon for approximately five minutes before I could see that the fire had crossed Mann Gulch and was coming up the ridge toward us.”

Neither Rumsey nor Sallee could see the fire that was now on their side of the gulch, but both could see smoke coming toward them over a hogback directly in front. As for the main fire across the gulch, it still looked about the same to them, “confined to the upper third of the slope.”

At the Review, Dodge estimated they had a 150- to 200-yard head start on the fire coming at them on the north side of the gulch. He immediately reversed direction and started back up the canyon, angling toward the top of the ridge on a steep grade. When asked why he didn’t go straight for the top there and then, he answered that the ground was too rocky and steep and the fire was coming too fast to dare to go at right angles to it.

You may ask yourself how it was that of the crew only Rumsey and Sallee survived. If you had known ahead of time that only two would survive, you probably never would have picked these two—they were first-year jumpers, this was the first fire they had ever jumped on, Sallee was one year younger than the minimum age, and around the base they were known as roommates who had a pretty good time for themselves. They both became big operators in the world of the woods and prairies, and part of this story will be to find them and ask them why they think they alone survived, but even if ultimately your answer or theirs seems incomplete, this seems a good place to start asking the question. In their statements soon after the fire, both say that the moment Dodge reversed the route of the crew they became alarmed, for, even if they couldn’t see the fire, Dodge’s order was to run from one. They reacted in seconds or less. They had been traveling at the end of the line because they were carrying unsheathed saws. When the head of the line started its switchback, Rumsey and Sallee left their positions at the end of the line, put on extra speed, and headed straight uphill, connecting with the front of the line to drop into it right behind Dodge.

They were all traveling at top speed, all except Navon. He was stopping to take snapshots.

The world was getting faster, smaller, and louder, so much faster that for the first time there are random differences among the survivors about how far apart things were. Dodge says it wasn’t until one thousand to fifteen hundred feet after the crew had changed directions that he gave the order for the heavy tools to be dropped. Sallee says it was only two hundred yards, and Rumsey can remember. Whether they had traveled five hundred yards or two hundred yards, the new fire coming up the gulch toward them was coming faster than they had been going. Sallee says, “By the time we dropped our packs and tools the fire was probably not much over a hundred yards behind us, and it seemed to me that it was getting ahead of us both above and below.” If the fire was only a hundred yards behind now it had gained a lot of ground on them since they had reversed directions, and Rumsey says he could never remember going faster in his life than he had for the last five hundred yards.

Dodge testifies that this was the first time he had tried to communicate with his men since rejoining them at the head of the gulch, and he is reported as saying—for the second time—something about “getting out of this death trap.” When asked by the Board of Review if he had explained to the men the danger they were in, he looked at the Board in amazement, as if the Board had never been outside the city limits and wouldn’t know sawdust if they saw it in a pile. It was getting late for talk anyway. What could anybody hear? It roared from behind, below, and across, and the crew, inside it, was shut out from all but a small piece of the outside world.

They had come to the station of the cross where something you want to see and can’t shuts out the sight of everything that otherwise could be seen. Rumsey says again and again what the something was he couldn’t see. “The top of the ridge, the top of the ridge.

“I had noticed that a fire will wear out when it reaches the top of a ridge. I started putting on steam thinking if I could get to the top of the ridge I would be safe.

“I kept thinking the ridge—if I can make it. On the ridge I will be safe… I forgot to mention I could not definitely see the ridge from where we were. We kept running up since it had to be there somewhere. Might be a mile and a half or a hundred feet—I had no idea.”

The survivors say they weren’t panicked, and something like that is probably true. Smokejumpers are selected for being tough, but Dodge’s men were very young and, as he testified, none of them had been on a blowup before and they were getting exhausted and confused. The world roared at them—there was no safe place inside and there was almost no outside. By now they were short of breath from the exertion of their climbing and their lungs were being seared by the heat. A world was coming where no organ of the body had consciousness but the lungs.

Dodge’s order was to throw away just their packs and heavy tools, but to his surprise some of them had already thrown away all their equipment. On the other hand, some of them wouldn’t abandon their heavy tools, even after Dodge’s order. Diettert, one of the most intelligent of the crew, continued carrying both his tools until Rumsey caught up with him, took his shovel, and leaned it against a pine tree. Just a little farther on, Rumsey and Sallee passed the recreation guard, Jim Harrison, who, having been on the fire all afternoon, was now exhausted. He was sitting with his heavy pack on and was making no effort to take it off, and Rumsey and Sallee wondered numbly why he didn’t but no one stopped to suggest he get on his feet or gave him a hand to help him up. It was even too late to pray for him. Afterwards, his ranger wrote his mother and, struggling for something to say that would comfort her, told her that her son always attended mass when he could.

It was way over one hundred degrees. Except for some scattered timber, the slope was mostly hot rock slides and grass dried to hay.

It was becoming a world where thought that could be described as such was done largely by fixations. Thought consisted in repeating over and over something that had been said in a training course or at least by somebody older than you.

Critical distances shortened. It had been a quarter of a mile from where Dodge had rejoined his crew to where he had the crew reverse direction. From there they had gone only five hundred yards at the most before he realized the fire was gaining on them so rapidly that the men should discard whatever was heavy.

The next station of the cross was only seventy-five yards ahead. There they came to the edge of scattered timber with a grassy slope ahead. There they could see what is really not possible to see: the center of a blowup. It is really not possible to see the center of a blowup because the smoke only occasionally lifts, and when it does all that can be seen are pieces, pieces of death flying around looking for you—burning cones, branches circling on wings, a log in flight without a propeller. Below in the bottom of the gulch was a great roar without visible flames but blown with winds on fire. Now, for the first time, they could have seen to the head of the gulch if they had been looking that way. And now, for the first time, to their left the top of the ridge was visible, looking when the smoke parted to be not more than two hundred yards away.

Navon had already left the line and on his own was angling for the top. Having been at Bastogne, he thought he had come to know the deepest of secrets—how death can be avoided—and, as if he did, he had put away his camera. But if he really knew at that moment how death could be avoided, he would have had to know the answers to two questions: How could fires be burning in all directions and be burning right at you? And how could those invisible and present only by a roar all be roaring at you?

On the open slope ahead of the timber Dodge was lighting a fire in the bunch grass with a “gofer” match. He was to say later at the Review that he did not think he or his crew could make the two hundred yards to the top of the ridge. He was also to estimate that the men had about thirty seconds before the fire would roar over them.

Dodge’s fire did not disturb Rumsey’s fixation. Speaking of Dodge lighting his own fire, Rumsey said, “I remember thinking that that was a very good idea, but I don’t remember what I thought it was good for.… I kept thinking the ridge—if I can make it. On the ridge I will be safe.”

Sallee was with Rumsey. Diettert, who before being called to the fire had been working on a project with Rumsey, was the third in the bunch that reached Dodge. On a summer day in 1978, twenty-nine years later, Sallee and I stood on what we thought was the same spot. Sallee said, “I saw him bend over and light a fire with a match. I thought, With the fire almost on our back, what the hell is the boss doing lighting another fire in front of us?”

It shouldn’t be hard to imagine just what most of the crew must have thought when they first looked across the open hill-side and saw their boss seemingly playing with a matchbook in dry grass. Although the Mann Gulch fire occurred early in the history of the Smokejumpers, it is still their special tragedy, the one in which their crew suffered almost a total loss and the only one in which their loss came from the fire itself. It is also the only fire any member of the Forest Service had ever seen or heard of in which the foreman got out ahead of his crew only to light a fire in advance of the fire he and his crew were trying to escape. In case I hadn’t understood him the first time, Sallee repeated, “We thought he must have gone nuts.” A few minutes later his fire became more spectacular still, when Sallee, having reached the top of the ridge, looked back and saw the foreman enter his own fire and lie down in its hot ashes to let the main fire pass over him.

***

To read more about Young Men and Fire, click here.

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