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Norman Maclean

From Wikipedia, the free encyclopedia

Norman Fitzroy Maclean
Maclean in 1970
Maclean in 1970
Born(1902-12-23)December 23, 1902
Clarinda, Iowa, U.S.
DiedAugust 2, 1990(1990-08-02) (aged 87)
Chicago, Illinois, U.S.
OccupationAuthor
Professor of English literature
Alma materDartmouth College
University of Chicago
GenreNature, fishing, outdoors, biography
Notable worksA River Runs Through It (1976)
Young Men and Fire (1992)
SpouseJessie Burns (1925–1968)
Children2, including John Maclean
ParentsJohn and Clara Maclean

Norman Fitzroy Maclean (December 23, 1902 – August 2, 1990) was an American professor at the University of Chicago who, following his retirement, became a major figure in American literature. Maclean is best known for his Hemingwayesque writing, his collection of novellas A River Runs Through It and Other Stories (1976), and the creative nonfiction book Young Men and Fire (1992).

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  • 2014 Fall WOLM #1 Haunted by Places: Western Montana and Norman Maclean
  • Young Men and Fire (Norman Maclean)

Transcription

>> This afternoon we're going to hear Ed Castellini lecture on place. If you know the novel, you know he's quoting the novel Haunted by Places, freely quoting it. Mixing in your own focus on place. So Ed's going to take us to Montana. I'll say a few words by way of introducing, sorry, Ed Castellini. And then I'll turn it over to Ed. But first I just want to-- [audio cuts out] [silence] In memory of Robert C. Kelly who taught here for many years and who was always an enthusiastic supporter of this program, the Work of Literary Merit Program. And the English Department, as always, is grateful to the Kelly family for the support of this series. Ed, my colleague Ed Castellini has taught a number of, a wide range of courses in the English Department since he joined us in fall, 1993. He'd actually been working for the JC back in '79, so he tells me, in what was then called the Learning Skills Program, which is now the Disability Resources Department. Ed went on to get a PhD in English and American Literature at UC Davis in 1991, writing his dissertation on Henry David Thoreau and his philosophy of language. He has also published an article and given presentations on his research and has written for other publications and undertaken watershed and environmental work besides teaching composition and literature at the JC and other institutions of higher learning. He has greatly enjoyed reading and teaching a River Runs Through It, seeing some hints of Thoreau therein, maybe more than some hints. Some strong connections. Maybe we'll hear about that. And has found the book thoroughly healthy, fresh, loving and profound. And here he is to tell us more about it. Thanks Ed. >> Okay. Well, thank you all, thank you for coming. And I must say it's great to be a teacher here since I see at least half the audience is my class, compelled to come to the lecture. Hello. Alright. So, the very final sentence of this magical book, this novella, A River Runs Through It, compresses into one beautiful, pithy, avaristic sentence. Norman Maclean's total impression that everything that's happened, all that had happened in the book up to this point. All the rivers he'd fished in. The mountains he'd seen. The valleys he'd traversed. The sky he'd fished under. His mother and father and brother and wife, and his in-laws. All the people he knew and loved, tried to sum it all up into one final sentence that he puts at the very end of the book which is, "I am haunted by waters. I am haunted by waters." And he selected the suggestive word haunted out of his sense that all the places he visits in his imagination in this book have a certain kind of soul for him. These haunted places are filled by ghosts, memories, souls. The subtle natural presences of the rivers and mountains. And maybe even the souls of the bigger fish that he remembers catching too. And I should mention at the outset that A River Runs Through It was published, first published in 1976. When Norman Maclean was 73 years old and had retired from his professorship in the Department of English at the University of Chicago. So it's a lifetime of memories and ghosts and soul presences that the writer pours into this book. Now, although Norman Maclean says that the rivers and mountains are haunted, he insists on their reality, their concrete actual reality. I'm quoting him in an article. He says, "For any number of reasons, everyday reality must be present there in my book. Ultimately I suppose because it is there in life. Reality is the transition between beauty and darkness, making both beauty and darkness believable." So the place to start our lecture, even this lecture series, is with a concrete, everyday physical reality of Western Montana as Norman Maclean knew it and experienced it. And so then the first thing I would like to do in this talk is to give you an introduction by way of a series of maps and photographs of some of the places in Western Montana near and dear to this writer's heart and depicted in loving detail in this book. Now, after taking in this presentation today, you, readers and students and teachers, should be better able to appreciate the spectacular settings woven into the plot and woven about the characters. So our first questions therefore are these. What's the geography of Montana, and especially Western Montana? Where and what are its rivers, watersheds, divides, townships, people, places so near and dear to this author and mentioned in here. And our ultimate question, ultimate question for the book must be what is the full reality of this book? This author is full of reality so that both physical Montana and its realistic characters who populate this book. And the other hand, a metaphysical what we could call transcendental Montana with its ideas and ghosts that haunt Montana, its light, its beauty, its darkness. So the ultimate question is how do these both physical and metaphysical reality haunt or populate this book. And before I go on I should tell you that I use the word metaphysical in its strict sense. Its philosophical sense for over 2000 years simply meaning beyond the physical. And clearly in this look at Maclean's look on Montana, he sees a physical/metaphysical reality with both sides of reality equally important for him. So here's how we start. This is a map of Montana. I just wanted to show you it because Montana is a very interesting state. And I should confess too at the beginning I've never been to Montana. So everything I have to say about Montana is learned from Maclean and from maps and things like that. Oh, what happened to Montana? There it is. Well just because I said I hadn't been there. Please. Okay. White on this side. Green on this side. So that's Eastern Montana, a very different kind of country than Western Montana. And there's a very sharp distinction in geography between the east and the west. In fact an incredibly sharp distinction in geography. So Western Montana is a land of mountain ranges, rivers coursing down valleys, and broad planes interspersed with towns. Now here is a more concentrated look at Western Montana. See if I can do this. So this is, this is Western Montana. The most very important thing, and this slide is maybe not so good, is this little checked line and it runs down like this and runs all the way up into Canada, right along the spine of the Rocky Mountains. And do you remember what that line depicts? That's called the Continental Divide, okay. And so any rain that falls on the east side of the Continental Divide goes into the Atlantic Ocean eventually. Down the Missouri River, into the Mississippi River, into the Gulf of Mexico. Anything that, any rain that falls on this side goes into the Columbia River and eventually into the Pacific Ocean. And now this divide, the Continental Divide, is very important in this book. Both his brother and Maclean in the book live on the east side of the Divide. And to get good fishing they have to drive across the Divide, and you'll find in the book that our author says, crossing the Divide is a mental, he says is a mental and moral achievement. And they have Continental Divide stories that they tell each other. And Norman Maclean even says, I was attempting to cross the divide between he and I, between my brother and I. So, the Continental Divide is very central in this. Now, the Continental Divide it is, let's see if I can find this. Yeah, I'm sorry the slide is so poor. This is Missoula, Montana here. And this is the, this is where Norman Maclean was raised from the age of seven. And he writes, now if I can go to the very beginning of the book. He says, I grew up, I lived at the junction of great trout rivers in Western Montana. Well I was very interested to find out what these great trout rivers were. So Missoula here is truly at a junction here. There's a river that comes up from the south here called the Bitterroot River. There's a river that comes over this way called the Clark Fork River. And then there's the famous river which appears in this book again and again, and it comes from the east. And it kind of all ties in a knot around Missoula. So indeed he did grow up and live at the junction of great trout rivers. In fact, maybe if you were a fly fisherman and a trout fisherman, that's the place to be brought up, Missoula, Montana. Okay. And his father was a, well let's see I can turn this off. So his father was a Presbyterian minister and a fly fisherman. And had taught Norman and his brother right from their youth up. Now, I thought that you should see a photograph of a river just north of Missoula. I got this photograph from Peggy Miller of Missoula, Montana. And I appreciate that very much. She cooperated in helping me put this lecture together. And each of the, this photo and each of the following are taken from photos she sent me just over the last couple of weeks. Now, that's one of the rivers that I think runs into this junction of great rivers. And I thought you should see how wide it is and also get some idea of the valleys and mountains of Montana. The valleys you see are pretty narrow. And the rivers run very swiftly coursing down these valleys. So again, I give my gratitude towards Peggy Miller who is the proprietor of the Highland Winds Medicinal Herbs and Arts Shop in Missoula, Montana. Okay. Now Peggy Miller made a special point of saying, the river runs through it. That means the river runs through Missoula. And indeed this is Missoula, Montana. And you can see this is the Clark Fork River that runs right through the middle of town. Right by the multistory buildings and the main parts of campus. And this could be a springtime, maybe before the leaves bud out. And you have a chance to see the river and the banks and the mountains and the somewhat of the city there. And lest we forget that Montana is very different than California. This is the way it must look many months of the year. This is also Missoula. And the river runs through it again in the winter time. Now I was talking with Peggy and I said, does the First Presbyterian Church still exist there in Missoula? The one that Norman Maclean's father was the pastor of? And she said, I don't know. Let me go up and look. And she went up and she came back very excited and had took this picture which is a plaque in front of the church, the First Presbyterian Church in memory of Dr. John Norman Maclean, pastor of First Presbyterian Church from 1909 to 1925, whose love of God, family and creation inspired the story A River Runs Through It. And construction of the sanctuary designed by his friend and church member Missoula architect A. J. Gibson. So that's Norman Maclean's father. And we know from the first paragraphs of this book that Norman's father being a minister had a tremendous effect on Norman, the writer of the book himself. For example, one day a week, Norman Maclean writes, was given over entirely to religion. And as far as his father goes, the pastor here, he says of his father, "As a Scot and a Presbyterian my father believed that man by nature was a mess and had fallen from the original state of grace." So Norman Maclean spent many a Sunday and other days at this site. And although he does say in a typical week, "my brother Paul and I probably received as many hours of instruction in fly fishing as we did in all other spiritual matters." One thing I especially found interesting about this plaque was that apparently the father's name was John Norman. And so our writer Norman must have gotten passed down to him his father's name, Norman. And I think that's interesting because a lot more got passed down than just his name Norman to his son, the writer of this book. Went his father's tutoring in fly fishing and spiritual matters, in academic matters, he was actually homeschooled by his father. He inherited a religious outlook and a sense for both sides of reality. And so it's true that John Norman Maclean truly was an inspirer of this novel. And there's the church. And you can see the little plaque. But I doubt that this is the church as Norman Maclean preached in it. This is a new construction and quite a very large and imposing church as a matter of fact. Now, this is the Blackfoot River. And this is a very precise location on the Blackfoot River. It is precisely the place in the Blackfoot River that this book talks about. And precisely it says, "The canyon above the Old Clear Water Bridge is where the Blackfoot River roars loudest. This river which runs straight and hard." Straight, hard, and where the river roars. It'd be nice if you could hear it roar. Sorry about that. And "where the water is too fast to let the algae grow on the rugs." So this is one of the great trout streams of the West. And you can see that it's no small little creek or tiny river, but truly the big Blackfoot River as the author calls it. And this is the last slide I have. This is Seeley Lake. So a whole series of adventures take place at Seeley Lake. Norman Maclean and his family had a cabin near here. And now, notice the difference. The lake is not roaring. There's no tumultuous water here. The water is quiet. The landscape is more meditative. And actually Norman Maclean returned to his cabin here well up into his eighties in this country. So this is a place, Seeley Lake, where Norman can meditate on the river's meanders and pools and take us more into the philosophical depths of this book. Okay. So I'll just leave the Black River there since it comes up again and again in this book. And now, we're going to talk a little bit about what's harder than watching photographs of Montana. Because now what's harder is not just seeing the places that the writer puts into the book but to see the actual themes and ideas of Norman Maclean. So now starts the metaphysical part of this talk. And Norman Maclean himself is quite clear about how to read his book. So if you're going to have to read this, take note of what's on page 92. In fact, this author is very precise. And I'm going to read you a little of this from page 92. He, that is Paul, gave me a pat on the back. They're fishing this river at some place. He gave me a pat on the back and one of George's number 2 yellow hackles with a feather wing. He said, they are feeding on drowned stone flies. That is the trout were feeding on ground stone flies. I asked him, how did you think that out? He thought back on what had happened like a reporter. He started to answer, shook his head when he found he was wrong and started out again. All there is to thinking, he said, is seeing something noticeable, which makes you see something you weren't noticing, which makes you see something that isn't even visible. As I said, that's a sort of a key to how to interpret this book. And you can deduce from this quote that the writer's strategy and method is to progress from seeing something noticeable to seeing something you could have noticed but didn't. And finally in the end, to see something that's not even visible at all. But, there, and of course, it's what's invisible that haunts you and me and haunts the writer too. You could even say there's two kinds of trout. The first trout is the ones with scales and gills and teeth, and you catch them here on flies. And the other trout is the trout of thought and imagination. And for this writer, Montana is the home of both types of trout. Okay. Now that we've gotten some picture of the grandeur of this country, and really Montana is so beautiful and spectacular. We can now look at what he says about the Montana that can't be seen. Which is, we can call metaphorical. We could call it metaphysical. And we certainly have to use our imagination and cooperate with him. And I'm going to give you three pictures. But not pictures that are on my laptop here. But now these are going to be word pictures. You can't strictly see these word pictures, but you must notice something about them. So that the full physical/metaphysical reality of Montana as Maclean knew it can emerge from your reading of the book. You haven't read this book if you think it's about physical Montana. It's about physical/metaphysical Montana. So the first word picture begins on page 19. Here we are back at the Blackfoot River in the canyon above the Old Clearwater Bridge. And having caught a fine, large trout himself, Norman says, and he caught it first before his brother. I had a fish, so I sat down to watch a fisherman. And here's what he sees when he watches his brother fishing this river. Below him was the multitudinous river. Would you think of using that word for this river? Multitudinous? Multitudinous. And where the rock had parted it around him, big grained vapor rose. He was fishing from a rock in the middle of the river. The spray emanating from him was finer grain still, and enclosed him in a halo of himself. The halo of himself was always there and always disappearing as if he were candlelight flickering about three inches from himself. The images of himself and his line kept disappearing into the rising vapors of the river, which constantly circled to the tops of the cliffs. Where after becoming a wreath in the wind, they became rays of the sun. You really have to work there to see rivers producing vapor and slowly moving towards the top of the canyon together with the images of Paul fishing. That's a sort of a higher self of Paul as it were, right up into the sunlight. So he's the halo, the image, and something rising. And what Paul is doing in the river is also physical/metaphysical. So this is the way Maclean describes his brother. He was 32 now at the height of his power, and he could put all of his body and soul into a four and a half ounce magic totem pole. That's a four and half ounce fly rod, okay. But in this river, it's become a magic totem pole. Because after all, his brother has a halo, is rising in the vapors. And what does Maclean say about this whole valley? He says rhythm was just as important as color. And just as complicated, the canyon was glorified by rhythms and colors. Glorified by his brother fishing there and producing such beautiful rhythms and colors. So you see the metaphysical is complicated, but it also glorifies the canyon. It glorifies the act of fishing. It glorifies Paul. It glorifies Norman. Now Maclean was haunted by this scene. And he describes a man and woman out hiking who stopped to notice this person fishing in the middle of this river. And working wonders with his magical casting and some sort of shadow casting and figure 8 loops. And they stopped to see the prized trout that Paul hooks. And watches fantastic casting. And then they try to engage Norman, who's also on the side in a conversation. Norman says, I started to make for the next hole. Oh no she said, that is the lady who was passing by. You're going to wait aren't you until he comes to shore so you can see his big fish? No, Norman answered, I'd rather remember the molecules. The molecules. As I kept going, the middle of my back told me that I was being viewed from the rear both as quite a guy because I was his brother and also as a little bit nutty because I said I was molecular. So you see, you can be accused of being a little bit nutty if you see the metaphysical and transcendental in the physical. However, Maclean is not afraid of that. And he's not afraid of being called nutty. So why read Maclean's musings on the river. Or in fact, it started Maclean thinking and the woman who engages him in conversation and thinks he's nutty, is she not thinking? That is, has she missed something about this river? Has she missed seeing something noticeable? Which leads you step-by-step to making you see something that isn't even visible but there. So Maclean does the same kind of thing with all of the scenes in the book again and again and again. He begins with the real physical and finds in it, draws out of it, the metaphysical. I'll give you another example. So he goes to Seeley Lake, and I think, let's see, I think you remember Seeley Lake, a more meditative spot. Not the roaring Blackfoot but something else. And he goes fishing on a river that's not very far from here. And he says, I sat there by the river and forgot and forgot until what remained was the river that went by and I who watched eventually the watcher joined the river. And there was only one of us. I believe it was the river. There's only one of us. So the watcher and the river join and become one. And now this is a quiet, meditative thought. And a quiet, meditative stretch of the river. And it haunts Maclean to the extent that it haunts his memory. And he writes, but years ago, I had known the river where it flowed through a now dry channel. So I could enliven its stony remains with the waters of memory. So memory itself flows. Memories like waters. And a river is like the flow of memory. So that's a challenge to all of us. Our memories flowing like rivers. Are our memories drying up? Have our memories already dried up? So, in this meditative moment, the river is so alive that where it dries up, Maclean says, it died. So here's what he says about the death of the river. In death it had its pattern. And we, it means we humans, can only hope for as much. Let's hope that we, when we die, are as together and have said as much and done as much as a river. And finally a last touch of the metaphysical from Seeley Lake. As the heat mirages on the river danced with and through each other, he writes, I could feel patterns from my own life joining with them. It was here while waiting for my brother that I started this story. Then Maclean goes on to say, stories of life are often more like rivers than books. So now you can already see the play of words beginning in the title. Stories of life are often more like rivers and books, and a river runs through it so it could be life. It could be Montana. It could be a great deal. Okay. So one more picture. And now we go back to the Blackfoot River. Maybe, let's see. Maybe that's a better picture. So now a third picture. But little disregarding this. But a picture that you can draw in your words and imagination, comes out of the book's conclusion. So I've gone from the beginning to the middle now to the end of the book where Paul, Norman and their father fish the Blackfoot River one final time at a new, more tranquil spot. The river just above in the book that says, just above the mouth of Belmont Creek. And I can't find Belmont Creek, and I'm not even completely sure that this is the Blackfoot River, but this is the kind of more tranquil stretch that they would have fished. Now by this point in the book, the river has truly become both metaphysical and physical. So that Norman Maclean says, he says, there was only one of us. And he says, it, the river, his father says, don't you hear the logos or the word in this river? Now could actually speak. So now the river is actually going to talk in the book to you and to Norman Maclean. So now listen to the voice of the river. You might have seen halos or the vapor, but now the river actually takes on a voice. The voices of the subterranean river in the shadows, so where this river is in the shadows is, he called it subterranean. And where the river is in the sun, he says it comes up, out into the sunlight. The voices of the subterranean river in the shadows were different from the voices in the sunlit river ahead. In the shadows against the cliff, the river was deep and engaged in profundities, circling back on itself now and then to say things over. To be sure the river had understood itself. But the river head came out into the sunny world like a chatterbox doing its best to be friendly. So the river alternates between darkness and light. And in this passage where the river sings both of darkness and sunlit beauty, this passage now becomes believable. Believable because the scene, because now if we follow Maclean at all, we see that Montana has become physical/metaphysical. And out on that river, as Norman and his father watch, is Paul. So Paul is going to catch his last fish. And he wants it to be the biggest fish of the day. And his father and Norman are watching him fish. And as they watch, they see in his hand the fly rod and Norman Maclean says, that's a wand. It's a magic wand. And they are listening to the river again. And the river starts talking even more of its profundities, as Maclean says. A river though has so many things to say that it is hard to know what it says to each of us. As we were packing our tackle and fish in the car, Paul repeated, just give me three more years. At the time I was surprised at the repetition. So Paul had said that twice. But later I realized that the river somewhere, sometime, must have told me too that Paul would receive no such gift. So you see here the river is sort of an oracle or a symbol or prophet. And the river knows the fates of the people that are on its banks. And where does the river get its words? The father, John Norman Maclean says, from underneath the water come the fatal words of destiny. Okay. So, now we have arrived at the end of the book. And perhaps I've said enough about its physical/metaphysical nature. And now if we followed the book and we follow Norman Maclean, we know why a river runs through it. Why does a river run through it? And now we also know why he is haunted by waters. Very clear writer in that sense. Now we know it by the end. So, what has Maclean taught us or prompted us to see in this river? So, remember, what should we be seeing, what we should be noticing, and how can we learn to see what is there but not visible? And so what haunts, what haunts the waters of Western Montana for Norman Maclean? Well, if you reading this book have learned to see or notice something in IT, capital I-T, in IT, something physical/metaphysical, then you are indeed reading Norman Maclean's A River Runs Through It. And just as that river has become one with him and runs through him, so that river in some measure is meant, and the writer intends this very seriously, to run through you. And this river includes you too. The river of this book is you. So, that's what I had to say about that. And I'm just wondering if there were any questions from anyone. Any requests to see another slide? Yes. >> It seems strange to me that the brother Paul who reaches this perfection in his ability to fly fish. >> Yes. >> Goes into such darkness and depths in the other part of his life. It's just a strange opposite. It makes you wonder why his transcendence as a fisherman couldn't help him transcend the darkness that he plummets into. >> Yes, that puts a major dilemma of the book beautifully into focus. So why does Norman Maclean have such a beautiful picture of Montana, why does he live a productive life as a professor? Why does his brother shortly after this last fishing trip where he heard the river, why does his brother find himself, why does his brother get into so much trouble that he finds, that his brother Norman finds him murdered in an alley in Helena, Montana? Murdered in a back alley. Actually clubbed to death by the butt of a pistol. Okay. So there's a continental divide between he and his brother. And Norman says again and again, I could never fully fathom the nature of this divide. So, I, wisely I think Norman says, I finally accepted my brother as he was. And as he was, he was a perfect artist. He brother says he was probably the finest fly fisherman in the Pacific Northwest. That I don't know exactly because I don't know what makes the finest fly fisherman. But that's quite a claim, right. And so the darkness of Paul coincided with a certain greatness. And Norman Maclean has come to peace about that. I think one of the reasons he says he's haunted is because up to a certain point in his life he couldn't make peace with these mysteries of life. If that's okay. Yes. >> Out of all of the Jekyll and Hyde [inaudible] he has this pure self when he's on the river and knows how to, how to speak to the river and bring out of the river what [inaudible]. And then he has this hidden darkness and self. >> Yeah. >> I think he ends up being killed because [inaudible]. >> That's the inference the book leaves. >> So addiction, whether it's gambling, alcohol, or whatever, but you know, that dark side. And for me it's a beautiful reminder to honor both sides of ourselves. That we do have a light side and a dark side. And then to look for a place, since this is a novel about place, for a place where the light side is elicited and to look for places that elicit that darker side. >> Oh that's, that's beautifully put. I think that that would have been a message from this book. Norman Maclean would have said possibly. This is a moral tale. This is a tale about light and darkness and their interplay in all of our lives. And not blaming the darkness for being dark, but seeing that it, just like the river, has to run through darkness and into sunlight so our lives have to do that too. And simply this is one of the things we must learn to accept about, from our nature. Now a lot of this book too is about how can Norman and his father, and their friends, help him. How can he help you get rid of your darkness? Well has anybody in this class ever tried to help somebody out of their darkness? Right. Yes, yes, well we try. But at a certain point, at a certain point you have to accept a person's particular mix of darkness and light as being part of their intrinsic self. And to love, to love what's beautiful about Paul, who was an alcoholic and a gambler and reckless with his money. And as Norman Maclean says, otherwise had a pack string of women chasing him around. And all these other unsavory things. But still, he was the finest fly fisherman in the Pacific Northwest. And a fishing rod in his hand, became a magic wand. And I'm not going to stand here and make the book simplistic, because it's not. A river must run through the shadows and the darkness, as well as through the sunlight, says Norman Maclean. Well, is that it? Oh yes. [ Inaudible Question ] >> Yes. Yes. [ Inaudible Question ] I know. I was very interested in this. So you see, before I started this lecture I said to myself, well, isn't this book kind of like John Steinbeck's books like Canary Row that sort of put Monterey on the map. And everybody in Monterey supposedly reads it. Supposedly. And so I wrote several people, and I said, did you read the book? Did you read the book? Finally I found one person who said I love that book. Not a professor at the university but a proprietor of an herb shop. And we were able to have a good conversation and exchange of emails. And she just started taking pictures. So you're the beneficiary of somebody who loved the book. Now as far as, as far as my tapping into this deep appreciation and love of Norman Maclean and Western Montana, well I didn't find it Anne Marie. But that's not to say it's not there. I just, with my limited experience, didn't find the particular ground swell. But I found one person. [ Inaudible Response ] Well alright I'll give you a very concrete example of that. I said to Peggy Miller, I'd said, well is there a First Presbyterian Church in town. She said, yeah. I said, do you think Pastor John Norman Maclean was the pastor? And she said I don't know. So I said, oh. She said it's just up the street from me. I think I'll go find out. So, there you see. I actually, Missoula is indebted to this lecture in a little way. So do people in Missoula pass this plaque and go, yes, A River Runs Through It? Sorry, can't answer that. Have to do more research. Yes. >> How did you gain the contact of Peggy Miller? And how did you try and find somebody that knew something about the book and Missoula? >> Oh. >> Because that seems like it'd be kind of a difficult task. >> Yes, yes. You send emails out into the ether, right. And you hope they strike root. Actually I went through a chain of about four or five different people. Each of whom referred me to somebody else. And I have to give people in Montana credit for, even if they didn't know much about the book or didn't know much about the scenes of the book still were kind enough to refer me to somebody else. So, on the sixth, isn't it every sixth person knows somebody else? Is there something like that? >> Six degrees of separation. >> Six degrees. Well I got to about six degrees before I found Peggy Miller. Yeah. And I'm also very grateful to her conversation and conversations as well. Yeah. Anybody else? Well we are right on time. It's five minutes of. So we can all get off to the next class. Oh thank you [inaudible]. Your grade's just gone up. Alright.

Family origins

In his novella, A River Runs Through It, Maclean wrote that his paternal ancestors were from the Isle of Mull, in the Inner Hebrides of Scotland.[1] According to his son, however, their paternal ancestors were Gaelic speaking Presbyterians and from the Isle of Coll, which is "located about seven miles west of the Clan MacLean stronghold, the Isle of Mull".[2]

Maclean's great-grandfather, Laughlan Maclean, was a carpenter who, accompanied by his wife, Elizabeth Campbell, emigrated to Cape Breton, Nova Scotia, in 1821, before they settled on a homestead in Pictou County.[2]

Maclean's father, Rev. John Norman Maclean, was born on July 28, 1862, to Laughlan's son Norman and his wife Mary MacDonald on the family farm in Marshy Hope, Pictou County, Nova Scotia where much of the community spoke Canadian Gaelic.[2] John Maclean showed signs of academic promise and trained for the ministry first at Pictou Academy, where academic records refer to him as "J.N. Mclean of Glenbard",[3][4] Maclean's father completed his education at Dalhousie College in Halifax and at Manitoba College in Winnipeg. MacLean's parents met while his father was riding circuit in the summers among the many small Presbyterian congregations in the pioneer communities of the Pembina Valley Region of Manitoba. His mother, Clara Davidson was a schoolmarm.[5] Maclean's maternal grandfather, John Davidson, was a Presbyterian immigrant from Northern England who had first settled near Argenteuil, Laurentides, Quebec, where his daughter Clara was born. Finding the farmland there poor, John Davidson and his family moved west by oxcart and settled on a homestead at New Haven near Manitou, Manitoba.[5] During their courtship, Clara often accompanied John Maclean while he was riding circuit. In 1893, John Maclean completed advanced studies at San Francisco Theological Seminary in San Anselmo, California, and was ordained as a Presbyterian minister. John Maclean and Clara were married in Pembina, Manitoba, on August 1, 1893.[6]

Biography

Early life

Maclean was born at Clarinda, Iowa, on December 23, 1902, and was the son of Clara Evelyn (née Davidson; 1873–1952) and the Rev. John Norman Maclean (1862–1941). Maclean and his younger brother, Paul Davidson MacLean[7] (1906–1938) were homeschooled by their father until 1913.[8] Maclean recalled about being homeschooled by his father, "I think the most important thing is that he read aloud to us. He was a minister, and every morning after breakfast we had what was called family worship. We'd all sit with our breakfast chairs pulled back from the table and he would read to us from the Bible or from some religious poet. He was a very good reader... that was very good for me because in doing that, he would bring out the rhythms of the Bible. That reading instilled in me this great love of rhythm in language."[9] His father also passed on to both of his sons a passion for fly fishing which he had begun and developed in Clarinda. As a child, Maclean also often witnessed his father, whose first language was Canadian Gaelic, working hard to learn Canadian English diction and elocution.

In 1909, his family relocated to Missoula, Montana, at the invitation of its Presbyterian church elders. The following years considerably influenced and inspired Maclean's writings, appearing prominently in the short story The Woods, Books, and Truant Officers (1977) and the semi-autobiographical novella A River Runs Through It and Other Stories (1976).[10]

Forest Service

When Maclean was 14 years old, he found work with the United States Forest Service in the Bitterroot National Forest of northwestern Montana. The novella USFS 1919: The Ranger, the Cook, and a Hole in the Sky[11] and the story "Black Ghost" in Young Men and Fire (1992) are semi-fictionalized accounts of these experiences.

Dartmouth

Maclean later attended Dartmouth College, where he served as editor-in-chief of the humor magazine the Dartmouth Jack-O-Lantern. His successor as editor-in-chief was Theodor Geisel, better known as Dr. Seuss who, Maclean described as "the craziest guy I ever met."[12] He was also a member of the Sphinx and Beta Theta Pi.

During a 1986 interview, Maclean described the enormous gratitude he felt for having been able to attend creative writing classes taught at Dartmouth by the poet Robert Frost. Maclean stated that he learned an enormous amount from Frost, which he carried with him for the rest of his life.[13] During the same interview, Maclean recalled that his lifelong admiration for and emulation of the writing style of Ernest Hemingway also began during his time at Dartmouth.[13]

Maclean received his Bachelor of Arts in 1924 and chose to remain in Hanover, New Hampshire, to serve as an instructor until 1926, a time he recalled in "This Quarter I Am Taking McKeon: A Few Remarks on the Art of Teaching".[14]

Personal life

Maclean met his future wife, Jessie Burns, during a December party in the Helena valley. They were returning home after the party with another couple in Jessie's car, when a blizzard descended and the car's radiator froze. He tried pouring water in, only to have the water freeze as well. He then started hiking through the blizzard to seek help but soon found that the car had caught up with him, as the cold had prevented the engine from overheating. He felt foolish, but Jessie always considered him the hero of the blizzard.[15] He and Burns married on September 24, 1931, and had two children: a daughter Jean (born in 1942), now a lawyer, and a son, John Norman Maclean (born in 1943) who became a journalist and author.

Following their marriage, Jessie handled the family's finances and wrote all the checks.[16] Jessie's "open personality" made her a lot of friends at the University of Chicago. It was often said of her in later years, "She was the only one who'd talk to the young faculty wives."[17] During a 1986 interview, Maclean recalled, "I love Chicago. My wife was very wonderful in helping me come to feel that. I was very provincial in a lot of ways. She was gay and loved life wherever she lived. She really worked me over in our early years in Chicago. I was insolent and provincial about that city. She made me see how beautiful it was, made me see the geometric and industrial and architectural beauty."[18] Dr. Sidney Schulman later said of Jessie's role at the university, "Jessie knew what was to be said. She said less than she knew, but what she said was enough and she said it with humor, with literary allusions and with simplicity. She came to be a sort of housemother. In being this, she was unaware of it - no self-satisfied awareness that what she was doing was noble. She was not playacting. It was part of her existence."[19] Jessie died in 1968, of emphysema and cancer of the esophagus, the result of decades of chain smoking.[20]

Maclean's family always led two lives, according to his son. One life was during the summers at the log cabin built by Maclean's father near Seeley Lake, Montana. The other life took place in Chicago during the academic year.[21]

Maclean gave up typing and wrote almost everything, including his books, "in a cramped longhand that generations of typists at the University and elsewhere prided themselves on learning to decipher."[22]

Murder of Paul MacLean

Maclean's younger brother, Paul Davidson MacLean, similarly graduated from Dartmouth and became well known as an investigative journalist who fearlessly exposed political corruption in Helena, Montana, linked to the powerful Anaconda Copper Mining Company. Paul later worked alongside Maclean and his wife at the University of Chicago during the Jazz Age and the Depression era. Paul had talents in writing and fly fishing but became an alcoholic, addicted gambler, notorious brawler and a womanizer. Maclean suggested all of these addictions and behaviors had a very long generational history and could be traced all the way back to the Maclean family's earliest origins among the Gaels of the Inner Hebrides of Scotland.[1] Despite repeated attempts by his family to help, Paul rejected all overtures.

On the early morning of May 2, 1938, Paul was murdered. He was attacked and brutally beaten at Sixty-Third Street and Drexel Avenue in Chicago. According to the testimony of an eyewitness, two men drove away afterwards in a car. Paul was taken to nearby Woodlawn Hospital where never regained consciousness and died at 1:20 pm the same day.[23] According to Maclean and statements made to the press by Detective Sergeant Ignatius Sheehan, evidence indicated Paul fought back savagely against his assailants and sold his life very dearly, so much so that the medical examiner found nearly all the bones in his right hand to have been broken during his last fight. Following a homicide investigation led by Sheehan, Chicago Police Department Captain Mark Boyle testified at the Cook County Coroner's inquest that he believed Paul's murder to be a mugging gone bad, which remains the official police explanation. Another widely held theory at the time was that Paul's murderers were linked to organized crime and the murder was over Maclean's refusal or inability to pay them an illegal gambling or loansharking debt. No arrests were ever made and the case remains unsolved.[24]

Maclean accompanied his brother's casket, alone, on an overnight train trip from Chicago to Montana. After the funeral, Maclean spent several weeks of compassionate leave with his parents at their family's cabin at Seeley Lake.[25]

Maclean's father was understandingly very skeptical of the Chicago Police Department's official explanation for his son's murder and asked Maclean, "Do you think it was just a stick-up and foolishly he tried to fight his way out? You know what I mean -- that it wasn't connected to anything in his past?" Maclean replied that the Chicago Police Department didn't know and that neither did he.[26] Maclean later wrote that his father aged rapidly following Paul's murder and that, "Like many Scottish ministers before him, he had to derive what comfort he could from the faith that his son had died fighting."[27] A few years later, before his death in 1941, Maclean's father brought up Maclean's fondness for writing nonfiction and advised, "After you have finished your true stories sometime, why don't you make up a story and the people to go with it? Only then will you understand what happened and why. It is those we live with and love and should know who elude us."[28]

During visits to the cabin at Seeley Lake in later years, his son often heard Maclean calling out over the lake in the evenings, "Paul! Paul!"[29]

University of Chicago

Maclean began graduate studies in English at the University of Chicago in 1928 and earned a PhD in 1940.

Like his contemporary C.S. Lewis, Maclean acquired a reputation for personal magnetism and for making the writings of difficult Medieval authors like François Rabelais and Geoffrey Chaucer come alive in the lecture hall. One of his students later said, "Maclean is one of the best liked guys around this place. He is best remembered because when we were freshmen we used to come to class only when he lectured. His classes were always overrun."[30] According to another of his students, the poet Marie Borroff, Maclean was considered a unique figure at the university because he came from a "wilderness outpost", was a gifted marksman with a rifle, played a rough game of handball and was every bit as much of an expert on George Armstrong Custer as he was on Aristotle.[31]

During World War II, Maclean declined a commission in the Office of Naval Intelligence to serve as dean of students. During the war, he also served as director of the Institute on Military Studies and co-authored Manual of Instruction in Military Maps and Aerial Photographs.[32]

Maclean eventually became the William Rainey Harper Professor in the Department of English and taught the Romantic poets and Shakespeare. "Every year I said to myself, 'You better teach this bastard so you don't forget what great writing is like.' I taught him technically, two whole weeks for the first scene from Hamlet. I'd spend the first day on just the line, 'Who's there?'"[33]

U.S. Supreme Court Justice John Paul Stevens took a poetry class taught by Maclean at the University of Chicago and later called him, "the teacher to whom I am most indebted."[34]

Maclean also wrote two scholarly articles, "From Action to Image: Theories of the Lyric in the Eighteenth Century" and "Episode, Scene, Speech, and Word: The Madness of Lear",[35] the latter describing a theory of tragedy that he revisited in his later work.

Retirement and Literary Career

After his retirement in 1973, Maclean began, as his children Jean and John had often encouraged him, to write down the stories he liked to tell.

As his father had urged, Maclean wrote an iconic and slightly fictionalized novella about his relationship with his parents and, even more so, with his brother Paul, beginning with their childhood together in Missoula and particularly focusing on the last summer in Montana before Paul's murder in 1938. According to his son, John Norman Maclean, "The portrait Norman managed to create in A River Runs through It gave Paul a lasting afterlife as the charming rebel, doomed but beautiful and gifted with a fly rod. He was forever the younger brother who struggled for an independent life and went down fighting. Norman's vision of him, though, brought the consolation of shared experience, taken to an eloquent level, to a host of brothers and sisters who have reached out to wayward siblings only to see them twist and dodge away as Paul did."[36] The resulting novella was included with two other stories in the book A River Runs Through It and Other Stories. Pete Dexter, in a 1981 profile of Maclean in Esquire magazine, described the novella, "It is a story about Maclean and his brother, Paul, who was beaten to death with a gun butt in 1938. It is about not understanding what you love, about not being able to help. It is the truest story I ever read; it might be the best written. And to this day it won't leave me alone."[37]

The second story in the book is "Logging and Pimping and 'Your pal, Jim'." The third story describes Maclean's employment as a teenager by the United States Forest Service and is titled "USFS 1919: The Ranger, the Cook, and a Hole in the Sky."[11] In 1976, A River Runs Through It and Other Stories became the first work of fiction ever published by the University of Chicago Press. The book received enthusiastic reviews, with Publishers Weekly calling it a "stunning debut."[38] It was nominated by a selection committee to receive the Pulitzer Prize in Letters in 1977 but no Pulitzer award was made in the category that year.

In a May 26, 1976, letter to Nick Lyons, Maclean explained that "Retrievers Good and Bad" had been the first story he attempted after retirement, that it was about his brother, and that he considered it "both a moral and artistic failure."[39] Despite his misgivings about the essay, Maclean published "Retrievers Good and Bad" in Esquire in 1977. That year another essay, "The Woods, Books, and Truant Officers," was published in Chicago magazine.[40] Both essays were anthologized along with a selection of other short writings by Maclean, two interviews and "essays in appreciation and criticism" in the 1988 volume Norman Maclean.[41] They were collected again in The Norman Maclean Reader (2008).[42]

In a 1986 interview, Maclean expressed contempt for New York City publishers: "Not until recently have the Western writers ever gotten a good break from the publishers in New York."[43] He recalled that A River Runs Through It had been rejected by Alfred A. Knopf and that when Knopf later approached him about his second book, "I really told those bastards off" in a letter that was "probably one of the best things I ever wrote."[44] That 1981 "middle finger of a letter,"[45] to Knopf editor Charles Elliott, concludes, "if the situation ever arose when Alfred A. Knopf was the only publishing house remaining in the world and I was the sole surviving author, that would mark the end of the world of books."[46] In that 1986 interview MacLean added, "I had the good fortune of having a dream come true. I'm sure every rejected writer must dream of a time when he's written something that was rejected which turns out to be quite successful, so that all the publishers who rejected him are now coming around and kissing his ass at high noon, and he can tell them where to go."[47]

By the time Maclean's A River Runs through It and Other Stories was published, he had begun researching a book about the 13 smokejumpers who lost their lives fighting the 1949 Mann Gulch Forest Fire.[48] Maclean's letters, some of them gathered in The Norman Maclean Reader, "attest to his periodic doubts as well as his determination to finish and publish the large manuscript he initially called 'The Great Blow-Up,' and later Young Men and Fire," according to the Reader's editor, O. Alan Weltzien.[42] That book was published posthumously in 1992 as Young Men and Fire by the University of Chicago Press and won the National Book Critics Circle Award.

Death

During his last years, Maclean collaborated with several others in attempting to adapt A River Runs Through It into a screenplay.[49] He also struggled to finish Young Men and Fire as his health declined,[50] and because "at the end he lived more for telling and retelling the story — for getting it right — than for publishing it."[51] Maclean died in Chicago on August 2, 1990, at the age of 87.[52] He left his manuscript of Young Men and Fire unfinished.[53] At his own request, Maclean's body was cremated and his ashes were scattered over the mountains of Montana.

Legacy

Maclean House (1991-2016), 5445 S. Ingleside Avenue

In 1991, a renovated church retirement home was turned into an undergraduate dormitory on the University of Chicago campus named Maclean House. Maclean House's mascot was the "Stormin' Normans" in honor of its namesake. The dorm was closed after the 2015–2016 academic year, subsequently sold and turned into apartments.[54]

In 2008, the University of Chicago Press published a new compendium of unpublished and some previously published works, The Norman Maclean Reader. The anthology included parts of a never-finished book about George Armstrong Custer and the Battle of the Little Bighorn which Maclean had worked on from 1959 to 1963.[55] Publishers Weekly gave the book a respectful review in the summer of 2008, remarking, "Readers of the two earlier books will find, as Weltzien [Alan Weltzien, the book's editor] phrases it, 'new biographical insights into one of the most remarkable and unexpected careers in American letters.'"

Literary works

Books

Articles and essays

  • 1952: Two essays—(1) "From Action to Image: Theories of the Lyric in the Eighteenth Century" and (2) "Episode, Scene, Speech, and Word: The Madness of Lear"[60] and (2) —in R.S. Crane's Critics and Criticism: Ancient and Modern[61]
  • 1956: "Personification But Not Poetry" in ELH: English Literary History Vol. 23, No. 2 (Jun., 1956), pp. 163–170.

Edited works

  • 1988: Norman Maclean (edited by Ron McFarland and Hugh Nichols)[62]
  • 2008: The Norman Maclean Reader (edited by O. Alan Weltzien)[63]

In popular culture

References

  1. ^ a b Norman Maclean (1976), A River Runs Through It and Other Stories, pages 27-28.
  2. ^ a b c John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 52.
  3. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 53.
  4. ^ "John Maclean | The Canadian Encyclopedia". www.thecanadianencyclopedia.ca. Retrieved April 23, 2022.
  5. ^ a b John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 52-54.
  6. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 54-55.
  7. ^ Baumler, Ellen (July 11, 2012). "Montana Moments: Paul Maclean's Unsolved Murder". Montana Moments. Archived from the original on September 25, 2018. Retrieved September 25, 2018.
  8. ^ Kidston, Martin J. (July 9, 2000). "Paul MacLean in Helena". Independent Record. Helena, Montana. Retrieved April 28, 2020.
  9. ^ The Norman Maclean Reader, page 172.
  10. ^ Tribune Staff. "125 Montana Newsmakers: Norman F. Maclean". Great Falls Tribune. Archived from the original on March 10, 2012. Retrieved August 26, 2011.
  11. ^ a b A River Runs Through It Characters. Archived from the original on September 19, 2018. Retrieved September 19, 2018 – via www.bookrags.com.
  12. ^ "Norman Maclean and Me". Retrieved May 23, 2020.
  13. ^ a b The Norman Maclean Reader, page 179.
  14. ^ The Norman Maclean Reader. University of Chicago Press. Archived from the original on September 19, 2018. Retrieved September 19, 2018.
  15. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 49.
  16. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 136.
  17. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 150.
  18. ^ The Norman Maclean Reader, page 176.
  19. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 51.
  20. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 50-51.
  21. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 30-31.
  22. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 136.
  23. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 151-153.
  24. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 153-155.
  25. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 155-156.
  26. ^ Norman Maclean (1976), A River Runs Through It and Other Stories, page 103.
  27. ^ Norman Maclean (1976), A River Runs Through It and Other Stories, pages 102-103.
  28. ^ Norman Maclean (1976), A River Runs Through It and Other Stories, page 104.
  29. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 157.
  30. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, page 137.
  31. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, pages 137-138.
  32. ^ Maclean, Norman; Olson, Everett C; University of Chicago; Institute of Military Studies (1943). Manual for instruction in military maps and aerial photographs. New York, London: Harper & Bros. OCLC 573866.
  33. ^ Dexter, Pete (June 1981). "The Old Man and the River". Esquire. Archived from the original on July 9, 2014. Retrieved July 7, 2014.
  34. ^ "John Paul Stevens: By the Book". The New York Times. April 6, 2014. Archived from the original on October 1, 2015. Retrieved April 6, 2014.
  35. ^ "Norman Maclean, King Lear essay". Archived from the original on June 4, 2011. Retrieved March 28, 2011.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
  36. ^ John Norman Maclean (2021), Home Waters: A Chronicle of Family and a River, Custom House. Page 156.
  37. ^ Dexter, Pete (March 23, 2014) [June 1981]. "The Old Man and the River". Esquire. Retrieved July 7, 2014.
  38. ^ Maclean, Norman (1988). "Introduction". In McFarland, Ron; Nichols, Hugh (eds.). Norman Maclean. Lewiston, ID: Confluence Press. p. 1. ISBN 0917652711.
  39. ^ Maclean, Norman (2008). The Norman Maclean Reader. University of Chicago Press. p. 235.
  40. ^ Maclean, Norman (1988). "Chronology". In McFarland, Ron; Nichols, Hugh (eds.). Norman Maclean. Lewiston, ID: Confluence Press. ISBN 0917652711.
  41. ^ Maclean, Norman (1988). McFarland, Ron; Nichols, Hugh (eds.). Norman Maclean. Lewiston, ID: Confluence Press. ISBN 0917652711.
  42. ^ a b Maclean, Norman (2008). Weltzien, O. Alan (ed.). The Norman Maclean Reader. Chicago: University of Chicago Press. p. xxi. ISBN 9780226500270.
  43. ^ Maclean, Norman (2008). The Norman Maclean Reader. Chicago: University of Chicago Press. pp. 177–8. ISBN 978-0-226-50026-3.
  44. ^ The Norman Maclean Reader, pages 177-178.
  45. ^ Moser, Whet. "Urban Remains: Norman Maclean Gives Alfred A. Knopf the Business". Chicago Magazine. Retrieved March 20, 2023.
  46. ^ "A Grudge Runs Through It". Harper's (February 1993): 35. Retrieved March 19, 2023.
  47. ^ The Norman Maclean Reader, page 178.
  48. ^ Maclean, Norman (2008). Weltzien, Alan (ed.). The Norman Maclean Reader. Chicago: University of Chicago Press. p. xxi. ISBN 9780226500270.
  49. ^ The Norman Maclean Reader, pages 174-175.
  50. ^ Maclean, Norman (1992). "Publisher's Note". Young Men and Fire. Chicago: University of Chicago Press. p. vii. ISBN 0226500616.
  51. ^ Thomas, Alan (September 10, 2015). "The Achievement of Young Men and Fire". Los Angeles Review of Books.
  52. ^ C. Gerald Fraser (August 3, 1990). "Norman Maclean, 87, a Professor Who Wrote About Fly-Fishing". The New York Times. Archived from the original on September 27, 2016. Retrieved July 10, 2012.
  53. ^ Maclean, Norman (1992). "Publisher's Note". Young Men and Fire. Chicago: University of Chicago Press. p. vii. ISBN 0226500616.
  54. ^ "Blackstone, Maclean, Broadview to Become Apartments". www.chicagomaroon.com. Archived from the original on September 19, 2018. Retrieved September 19, 2018.
  55. ^ "A Brief Biography of Norman Maclean". A Brief Biography of Norman Maclean. University of Chicago Press. Retrieved March 20, 2023.
  56. ^ This work was originally Maclean's doctoral dissertation at the University of Chicago
  57. ^ From Harper's Geoscience Series. (New York: Harper & Brothers), LCCN: UG470.M17
  58. ^ (Chicago: University of Chicago Press) ISBN 0-226-50066-7
  59. ^ (Chicago: University of Chicago Press, published posthumously) ISBN 0-226-50061-6
  60. ^ "Norman Maclean, King Lear essay". www.press.uchicago.edu. Archived from the original on March 20, 2018. Retrieved September 24, 2018.
  61. ^ The first essay is adapted from his 1940 doctoral dissertation and book The Theory of Lyric Poetry from the Renaissance to Coleridge, found on pp. 408–50 in Crane's work. The second is found on pp. 595–615. (Chicago: University of Chicago Press) LCCN 57007903
  62. ^ (American Authors Series, Confluence Press, 1988). Includes previously uncollected writings, as well as interviews and essays about Maclean. ISBN 0-917652-71-1
  63. ^ (Chicago: University of Chicago Press, 2008) ISBN 978-0-226-50026-3. Selections from his work plus previously unpublished material including letters and his writings on George Armstrong Custer and the Battle of the Little Bighorn.
  64. ^ The Ranger, the Cook and a Hole in the Sky. – IMDb.
  65. ^ Lisk, Jamie. – "The Ranger, the Cook, and a Hole in the Sky" Archived January 2, 2009, at the Wayback Machine. – CrankedOnCinema.com. – October 18, 2008.

External links

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