Edward Abbey, “the patron saint of the radical environmental movement,” is one nature writer that includes many classifications found in nature writing into one seamless book (Anderson, Slovic, and O’Grady 344).
Captain Beatty, in Fahrenheit 451, imagines how fire is much like censorship, both eradicated knowledge: “‘It’s perpetual motion…. What is fire? It’s a mystery… Its real beauty is that it destroys responsibility and consequences’” (Bradbury 115).
Like all writers from the moment they put pen to paper, Anderson desired to be a great writer; however, much of his life was spent as a middle-class businessman in Ohio and Virginia, later becoming the owner of Marion Publishing Company and the owner and editor of two newspapers.
In one of his latest novels, Our Kind of Traitor, Le Carré provides a tale of espionage that makes one cheer and hope for the villain to win, or at least survive. Perry and his girlfriend, Gail, befriend Dima, a Russian money-launderer, in Antigua while on vacation.
In “Rivers of Death” Carson continues the onslaught of scientific facts which illustrate how pesticides and insecticides not only destroy the land but how they also contaminate water supplies, indirectly poisoning human beings.
Atwood studied Moodie, wrote about Moodie, and both Atwood and Moodie lived and wrote about the Canadian wild and the female who is transformed by it. However, Moodie is not the only Canadian writer to have influenced Margaret Atwood and the short story “Death by Landscape.”
The Girl With the Dragon Tattoo, the first book in the trilogy and recent film with plans for the others to follow, illustrate how a writer can, on faith alone, understand what is necessary to write a compelling story.
As a writer there is always the temptation to be a cruel god over the imagined characters, typing down conflict after conflict without sympathy; there is also an even greater risk of loving the characters too much, coddling them as babes, and becoming benevolent creators over the fiction.
There can be no successful revelation of a reader’s mind merging with that of the author without a strong narrative voice. Without a proper voice, characters fall to one dimensional shades and plot unravels like yarn balls on the floor of the reader’s imagination.