What do you think?
Rate this book
The American wilderness: Essays
American Wilderness, The by Muir, John
223 pages, Hardcover
First published November 15, 1990
1 person is currently reading
437 people want to read
About the author
John Muir
623 books1,431 followersJohn Muir was far more than a naturalist; he was a secular prophet who translated the rugged language of the wilderness into a spiritual calling that saved the American soul from total surrender to materialism. Born in 1838 in the coastal town of Dunbar, Scotland, Muir’s childhood was a blend of seaside wanderings and a brutal religious upbringing. His father, Daniel Muir, was a man of uncompromising faith who forced John to memorize the New Testament and most of the Old Testament by age eleven. When the family immigrated to the frontier of Wisconsin in 1849, this iron-fisted discipline continued on their farm. However, for the young Muir, the "Book of Nature" began to rival the Bible. He saw the divine not just in scripture, but in the black locust trees and the sun-drenched meadows of the midwest.
The pivotal moment of Muir’s life occurred in 1867 while working at a wagon wheel factory in Indianapolis. A tool slipped, piercing his cornea and leaving him temporarily blind in both eyes. Confined to a darkened room for six weeks, Muir faced the terrifying prospect of a life without light. When his sight miraculously returned, he emerged with a clarity of purpose that would change the course of American history. He famously wrote, "This affliction has driven me to the sweet fields. God has to nearly kill us sometimes, to teach us lessons." He immediately set out on a 1,000-mile walk to the Gulf of Mexico, beginning a lifelong odyssey of exploration.
Muir eventually found his "true home" in California’s Sierra Nevada. To Muir, the mountains were not mere piles of rock, but "the range of light." He spent years as a shepherd and guide in Yosemite, living a life of extreme simplicity—often traveling with nothing but a tin cup, a crust of bread, and a volume of Emerson’s essays. His scientific contributions were equally profound; he defied the leading geologists of the day by proving that the Yosemite Valley was carved by ancient glaciers. While the state geologist, Josiah Whitney, dismissed him as a mere "shepherd," the world’s leading glaciologists eventually recognized Muir’s genius.
His transition from explorer to activist was born of necessity. Seeing the "hoofed locusts"—domestic sheep—devouring the high mountain meadows, Muir took up his pen. His landmark articles in The Century Magazine and his 1903 camping trip with President Theodore Roosevelt became the catalysts for the modern conservation movement. Under the stars at Glacier Point, Muir convinced the President that the wilderness required federal protection. This meeting laid the groundwork for the expansion of the National Park system and the eventual return of Yosemite Valley to federal control.
As the co-founder and first president of the Sierra Club, Muir spent his final years in a fierce philosophical battle with Gifford Pinchot. While Pinchot argued for "conservation" (the sustainable use of resources), Muir championed "preservation" (the protection of nature for its own sake). Though he lost the battle to save the Hetch Hetchy Valley from being dammed, the heartbreak of that loss galvanized the American public, ensuring that future "cathedrals of nature" would remain inviolate. John Muir died in 1914, but his voice remains ubiquitous, reminding us that "into the woods we go, to lose our minds and find our souls."
The pivotal moment of Muir’s life occurred in 1867 while working at a wagon wheel factory in Indianapolis. A tool slipped, piercing his cornea and leaving him temporarily blind in both eyes. Confined to a darkened room for six weeks, Muir faced the terrifying prospect of a life without light. When his sight miraculously returned, he emerged with a clarity of purpose that would change the course of American history. He famously wrote, "This affliction has driven me to the sweet fields. God has to nearly kill us sometimes, to teach us lessons." He immediately set out on a 1,000-mile walk to the Gulf of Mexico, beginning a lifelong odyssey of exploration.
Muir eventually found his "true home" in California’s Sierra Nevada. To Muir, the mountains were not mere piles of rock, but "the range of light." He spent years as a shepherd and guide in Yosemite, living a life of extreme simplicity—often traveling with nothing but a tin cup, a crust of bread, and a volume of Emerson’s essays. His scientific contributions were equally profound; he defied the leading geologists of the day by proving that the Yosemite Valley was carved by ancient glaciers. While the state geologist, Josiah Whitney, dismissed him as a mere "shepherd," the world’s leading glaciologists eventually recognized Muir’s genius.
His transition from explorer to activist was born of necessity. Seeing the "hoofed locusts"—domestic sheep—devouring the high mountain meadows, Muir took up his pen. His landmark articles in The Century Magazine and his 1903 camping trip with President Theodore Roosevelt became the catalysts for the modern conservation movement. Under the stars at Glacier Point, Muir convinced the President that the wilderness required federal protection. This meeting laid the groundwork for the expansion of the National Park system and the eventual return of Yosemite Valley to federal control.
As the co-founder and first president of the Sierra Club, Muir spent his final years in a fierce philosophical battle with Gifford Pinchot. While Pinchot argued for "conservation" (the sustainable use of resources), Muir championed "preservation" (the protection of nature for its own sake). Though he lost the battle to save the Hetch Hetchy Valley from being dammed, the heartbreak of that loss galvanized the American public, ensuring that future "cathedrals of nature" would remain inviolate. John Muir died in 1914, but his voice remains ubiquitous, reminding us that "into the woods we go, to lose our minds and find our souls."
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 12 of 12 reviews
February 15, 2014
In this age of digital cameras and photoshop, youTube and social networking, it would seem a waste of time to purchase, let alone browse, an oversized book of black and white landscape photographs. I doubt any of the children of the digital age would give it a glance. Those who know beauty, however, would do as I have and snap this book up and admire it often. These are no ordinary photographs. Ansel Adams was no ordinary photographer. Each photo is a carefully crafted composition, beginning with location. He would set up his camera (after backpacking it for miles across untracked wilderness) and reposition it ceaselessly until he found the right spot to make a photograph. Then it was time to wait for the proper light. He had to choose the correct exposure and film. Finally, for a few moments, everything was sublime and an exposure was made. Yet the composition was only beginning. Adams processed his own film and created his own enlargements in the darkroom, spending days working with a negative to bring forth the beauty of the image he had witnessed when he took the photo.
All of the images are black and white. By removing color, the eye (and the mind) of the viewer becomes aware of the significance of the varying degrees of light. Structural details you wouldn't notice in color become clear when viewed in black and white. Most important of all, and this is due to Adams' diligence in the darkroom, is the balance of light and dark in his compositions. It is a difficult concept to convey in words, but looking at the photos one can see the visual harmony of light and shadow from picture to picture. There is a conversation taking place in the eye, with Adams silently pointing out the light, guiding us to see what he's saying. This communication is art at it's best, and any creative person - writer, photographer, painter, poet - can learn a lot about conveying their ideas by spending a few quiet moments meditating on these images. This is art that transcends time and genre. Soak it in; it will serve you well.
All of the images are black and white. By removing color, the eye (and the mind) of the viewer becomes aware of the significance of the varying degrees of light. Structural details you wouldn't notice in color become clear when viewed in black and white. Most important of all, and this is due to Adams' diligence in the darkroom, is the balance of light and dark in his compositions. It is a difficult concept to convey in words, but looking at the photos one can see the visual harmony of light and shadow from picture to picture. There is a conversation taking place in the eye, with Adams silently pointing out the light, guiding us to see what he's saying. This communication is art at it's best, and any creative person - writer, photographer, painter, poet - can learn a lot about conveying their ideas by spending a few quiet moments meditating on these images. This is art that transcends time and genre. Soak it in; it will serve you well.
July 27, 2017
I expected to really like this book. I figured that Adams' photos and Muir's writing would be a perfect match but somehow it failed to touch me. Something about the black and white imagery just didn't connect me to the natural beauty. I think I need the natural color to feel that connection. And I guess I feel that nature can't be touched with words. I think I'm so in awe of nature that it's a nonverbal experience and words about it seem doomed to fall short of coming close to nature's majesty....
September 19, 2020
I've had this sitting around for a while now, and I have gazed through the photos. I do wish that each picture had a caption of what was pictured rather than have a credit/index for this at the end. There were countless times where I would think a view was familiar (RMNP) to have to look at the book to verify if I was correct or not.However, I decided to actually read John Muir's words today to find inspiration to go outside, and to just be overwhelmed with the beauty our country has, and hopefully, will continue to have despite the forest fires raging in the West currently.
April 5, 2020
A fantastic selection of quotes from Muir to accompany Adams’ photographs. I had not seen many of them and was glad to experience something new from him. I especially like them because they were taken before his move to grander, colder landscapes.
My only complaint is the lack of citations for Muir’s quotes. Full credits are provided for the photos. We are told, in general, which books the quotes were drawn from, but the quotes themselves are not linked to any specific volume.
My only complaint is the lack of citations for Muir’s quotes. Full credits are provided for the photos. We are told, in general, which books the quotes were drawn from, but the quotes themselves are not linked to any specific volume.
October 30, 2020
Hard to review a book thats just short but brilliant excerpts from John Muirs writings next to incredible photos by my favorite photographer... so, I'll just write that its hard to review that type of book instead.
February 23, 2018
Beautiful book. Enjoyed every moment.
December 5, 2018
Ansel. Adams. Photographs. What's not to love here people?!
February 14, 2019
An exquisite verbal and visual exhibition. Naturally.
July 19, 2020
This coffee table book is an amazing collaboration between two great Americans who stand for the priceless natural heritage of the U.S.A.
February 7, 2017
Breath taking images awaken the spirit, even in black and white, with beautiful musings by John Muir. A beautiful book to spend some intimate time with and enjoy with loved ones.
August 13, 2015
Muir's texts can result dull and monotonous, apart from cheesy. Maybe is the result of the editor having chosen the most poetic-like texts by him, but they totally fail to support or complement the pictures. In m y case, they distract more than add anything interesting. The pictures, on the other hand, are the gold standard of b&w landscape photography. Period. Hence the 4 stars.
Displaying 1 - 12 of 12 reviews