(from Thomas Foster's How to Read Literature Like a Professor, pgs. 165-167)
So what's geography? Rivers, hills, valleys, buttes, steppes, glaciers, swamps, mountains, prairies, chasms, seas, islands, people. In poetry and fiction, it may be mostly people. Robert Frost routinely objected to being called a nature poet, since by his count he only had three or four poems without a person in them. Literary geography is typically about humans inhabiting spaces, and at the same time the spaces that inhabit humans. Who can say how much of us comes from our physical surroundings? Writers can, at least in their own works, for their own purposes. When Huck meets the Shepherdsons and the Grangerfords or sees the duke and the dauphin tarred and feathered by the townspeople, he sees geography in action. Geography is setting, but it's also (or can be) psychology, attitude, finance industry - anything that place can forge in the people who live there.
Geography in literature can also be more. It can be relevatory of virtually any element in the work. Theme? Sure. Symbol? No problem. Plot? Without a doubt.
In Edgar Allan Poe's "The Fall of the House of Usher," the narrator spends the opening pages describing a landscape and a day as bleak as any in literature. We want to get to the titular house, of course, to met the last, appalling members of the Usher clan, but Poe doesn't want us there before he's prepared us. He treats us to "a singularly dreary tract of country," to a "few rank sedges" and "white trunks of decayed trees," to the "precipitous brink of a black and lurid tarn," so that we're ready for the "bleak walls" of the house with its "vacant eye-like windows" and its "barely perceptible fissure" zigzagging its way down the wall right down to the "sullen waters of the tarn." Never perhaps have landscape and architecture and weather (it's a particularly dingy afternoon) merged as neatly with mood and tone to set a story in motion. We are nervous and dismayed by this description even before anything has happened, so of course when things do begin happening, when we meet Roderick Usher, one of the creepiest characters to ever grace the pages of a story, he can't give us the creeps because we already have them. But he sure can make them worse, and he does. Actually, the scariest thing Poe could do to usis to put a perfectly normal human specimen in that setting, where no one could remain safe. And that's one thing landscape and place - geography - can do for a story.
Geography can also define or even develop character. Take the case of two contemporary novels. In Barbara Kingsolver's Bean Trees (1988), the main character and narrator reaches late adolescence in rural Kentucky and realizes she has no options in that world. That condition is more than social; it grows out of the land. Living is hard in tobacco country, where the soil yields poor crops and hardly anyone makes much of a go of things, where the horizon is always short, blocked by mountains. The narrator feels her figurative horizons are also circumscribed by what seem like local certainties: early pregnancy and an unsatisfactory marriage to a man who will probably die young. She decides to get away, driving a 1955 Volkswagon to Tucson. On her way she changes her name from Marietta (or Missy) to Taylor Greer. As you know by now, there's rebirth when there's a renaming, right? Out west she meets new people, encounters a completely alien but inviting landscape, becomes the de facto mother of a three-year-old Native American girl she calls Turtle, and finds herself involved in the shelter movement for Central American refugees. She wouldn't have done any of these things in claustrophobic old Pittman, Kentucky. What she discovers in the West are big horizons, clear air, brilliant sunshine, and open possibilities. She goes, in other words, from a closed to an open environment, and she seizes the opportunities for growth and development. Another character in another novel might find the heat oppressive, the sun destructive, and space vacant, but she wouldn't be Taylor Greer. In Toni Morrisons Song of Solomon, Milkman Dead grows up without ever learning who he really is until he leaves his Michigan home and travels back to the family home country in eastern Pennsylvania and Virginia. In the hills and hollows (not unlike the ones Taylor Greer must flee to breathe) he finds a sense of roots, a sense of responsibility and justice, a capacity for atonement, and a generosity of spirit he never knew before. He loses nearly everything of his associated with the modern world in the process - Chevrolet, fine clothes, watch, shoes - but they prove to be the currency with which he buys his real worth. At one point direct contact with the earth (he's sitting on the ground and leaning back against a tree) provides him with an intuition that saves his life. He responds just in time to ward off a murderous attack. He could have done none of those things had he stayed in his familiar geography; only by leaving "home" and traveling to his real home can he find his real self.
