Participation Type
Paper
Session Title
Session 10.01 Environment and Ecology
Presentation #1 Title
Barbara Kingsolver’s Prodigal Summer: A Commentary on Silent Spring
Presentation #1 Abstract or Summary
The essay proposed here argues that Barbara Kingsolver’s novel Prodigal Summer is in direct dialogue with Rachel Carson’s influential 1962 nonfiction work, Silent Spring. More specifically, by examining key parallels between the ecological visions that emerge in the two books, that Carson explained forthrightly and that Kingsolver manifests within her three main characters, I suggest that Kingsolver is both paying homage to Carson and subtly critiquing her apocalyptic narrative. In addition to examining Kingsolver’s main characters, this analysis considers the genre and form of her novel and explores the ways in which her literary techniques contribute to the commentary she provides on Silent Spring. Ultimately, both authors seem to be working to reach an audience of average Americans, who are often absent from important ecological and environmental conversations. Essentially, they are bridging a gap between scholars and non-scholars, high-culture and low-culture, an effort that the essay suggests should be embraced and encouraged within the growing field of ecocriticism.
At-A-Glance Bio- Presenter #1
Heather Miles is in her second year of the Master's in English program here at Marshall University, currently working to complete her portfolio that is focused on environment and Appalachia. She also teaches English 101 and works as Communications Director for the West Virginia Department of Veterans Assistance.
Barbara Kingsolver’s Prodigal Summer: A Commentary on Silent Spring
Corbly Hall 244
The essay proposed here argues that Barbara Kingsolver’s novel Prodigal Summer is in direct dialogue with Rachel Carson’s influential 1962 nonfiction work, Silent Spring. More specifically, by examining key parallels between the ecological visions that emerge in the two books, that Carson explained forthrightly and that Kingsolver manifests within her three main characters, I suggest that Kingsolver is both paying homage to Carson and subtly critiquing her apocalyptic narrative. In addition to examining Kingsolver’s main characters, this analysis considers the genre and form of her novel and explores the ways in which her literary techniques contribute to the commentary she provides on Silent Spring. Ultimately, both authors seem to be working to reach an audience of average Americans, who are often absent from important ecological and environmental conversations. Essentially, they are bridging a gap between scholars and non-scholars, high-culture and low-culture, an effort that the essay suggests should be embraced and encouraged within the growing field of ecocriticism.
