By Craig Waddell
Craig Waddell offers essays investigating Rachel Carson’s influential 1962 publication, Silent Spring. In his foreword, Paul Brooks, Carson’s editor at Houghton Mifflin, describes the method that led to Silent Spring. In an afterword, Linda Lear, Carson’s fresh biographer, recollects the top of Carson’s lifestyles and descriptions the eye that Carson’s e-book and Carson herself acquired from students and biographers, cognizance that centred so minutely on her existence that it detracted from a spotlight on her paintings. The foreword via Brooks and the afterword via Lear body this exploration in the context of Carson’s lifestyles and work. Contributors are Edward P. J. Corbett, Carol B, Gartner, Cheryll Glotfelty, Randy Harris, M. Jimmie Killingsworth, Linda Lear, Ralph H. Lutts, Christine Oravec, Jacqueline S. Palmer, Markus J. Peterson, Tarla Rai Peterson, and Craig Waddell. jointly, those essays discover Silent Spring’s effectiveness in conveying its demanding message and the rhetorical techniques that helped create its vast impact.
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Extra resources for And No Birds Sing: Rhetorical Analyses of Rachel Carson's Silent Spring
Even as a child, Rachel aspired to be a writer, and in 1918, at age eleven, she published her first piece, an essay in St. Nicholas, a Page 4 children's magazine. After graduating from high school, she entered the Pennsylvania College for Women (later renamed Chatham College), initially majoring in English. In her junior year, howeverunder the influence of Mary Scott Skinker, her charismatic biology professorCarson changed her major to zoology. With this combination of majors, she was able to blend the two loves of her life: writing and nature (Brooks 1718).
Immediately after the war, when these dangers had already been recognized, she tried in vain to interest a magazine in publishing an article on the subject. A Page xiv decade later, when the spraying of pesticides and herbicides (some of them many times more toxic than DDT) was causing wholesale destruction of wildlife and its habitat, and clearly endangering human life, Rachel decided that she had to speak out. Again, she tried to interest magazines in an article. Though she was by now a well-known writer, the magazine publishers, fearing to lose advertising, turned her down.
Notes 1. In this section, I draw primarily on The House of Life: Rachel Carson at Work, by Paul Brooks, and on Rachel Carson: Witness for Nature, by Linda Lear, but also on the historical and biographical writings of Dunlap, Gartner, Gore, Graham, Hynes, McCay, Oravec, and others, and on my own research with the Page 13 Rachel Carson Papers in Yale University's Beinecke Rare Book and Manuscript Library. 2. Writing in the September 1962 edition of Book-of-the-Month Club News, Club Chairman Harry Scherman said, Only with two Selections in recent years have we advised members that it was unwise to use their privilege of rejection or substitution.
And No Birds Sing: Rhetorical Analyses of Rachel Carson's Silent Spring by Craig Waddell