Weltzien+AL

Coming Into Mcphee Country; John Mcphee and the Art of Literacy Non Fiction Edited By O. Alan Weltzien and Susan N. Maher  This chapter of the book //Coming into Mcphee Country; John Mcphee and the art of literary Non Fiction// is called “John Mcphee and the Question of Environmental Advocacy” and at the start of the chapter it takes on a rant of various complaints and accusations concerning John Mcphee and his chosen style of writing. It identifies the reason why John Mcphee tries to avoid labels like environmentalism and protests nature writing for the fear of being considered polemics. This can be defined as an argument of one against opinions, doctrine or controversialist. John Mcphee remains on a mission of self effacement, but has grown tired of the accusations and prefers to be distinguished from a preacher of editorialist and encourages people to view him as a novelist of the round way to writing. This title takes him behind the scenes and lets him keep his distance from the opinions of anyone but the reader showing them the evidence and providing the facts only to let them continue this round formation of writing and then forming their own environmental opinion. This form of nature writing according to John Mcphee is called outdoor writing or “Keewaydin Stories” (124). This came about after one of his most educational writings called “Camp Keewaydin”. His first environmental book is called “The Pines Barrens” and “Encounters with Archdruid”. These are used several times throughout this chapter with references to John Mcphee’s style of environmental writings. Above all aspects of writing this chapter clearly defines the metaphoric balancing act diligently constructed throughout John Mcphee’s muted environmental writing. It is important to note the explicit need for moderation in the world of environmentalism, and how this out weights the rather sharp advocacy approach, according to John Mcphee. This can be achieved by being careful not to lose the essential topic by stretching its boundaries and encouraging the reader to follow along. This is done by expanding the ideas surrounding environmentalism and not restricting. The end of the chapter discusses the two year research trip John Mcphee took at the University of Wyoming where he researched the Keewaydin Triptych while working with David Love. This was the beginning of this arousing effect of persuasion on the reader to look at the ecological crises. This muted encouragement constantly resonating how the Keewaydin Triptych demonstrates “difference makes all the difference.” (143)