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“The Invocation of Mary Shelley”
I contemplated the lake: tempted to swim, I stood on the shore in pitchy moonlight, a cascade of shadows in shapes of trees that tricked the eye into seeing some gigantic being, a monster from my past. To escape that memory of hell, I dropped my cloak, and retreating like an innocent-accused into her prison cell, I plunged into the calm, cool water. Whispering a poem as though it were prayer, it seemed that a fallen angel was quick to answer me. Bright flashes of lightning suddenly revealed clouds previously invisible in a black sky; the quiet storm illuminated the lake for several minutes until a dark, lacy veil descended like the faint sketches of an artist, crossing out first lines and drawing a new design, a pentimento of seasons. Summer rains had ceased; the cold miserable fall torrents replaced them, and my placid heart became agitated and weary. Wind licked waves and levitated them from their usual occupation. To my horror, a few curled into dorsal fins, a beast of prey in a troubled sea; I swam away, and slunk ashore, breathless with the thrill, and afraid.
Thunder erupted. Exhilarated, I pulled my shawl around my shoulders and watched the storm bestow a sublime, terrific power. Was I the only thing that beheld this beautiful scene? The frogs, I imagined, long had buried themselves with the worms in the earth. A loon wailed like a banshee. Once my eye recovered from the repeated flashes of lightning, I again retraced my path to the cottage where I took refuge in the most perfect solitude. Upon that vindication I sought from the judge, who bore witness to the depraved deeds of that dæmon, I passed whole days on the lake, often alone, or with a friend, listening to the loons, writing letters and allowing nature to restore me. On many an afternoon, I have seen this lake writhe and turn with the heart of a tempest, reflecting in some manner, the true passions of my nature, the fury and fears of a woman, whose airy singular voice, overwhelmed by danger, could not conquer violence, nor any nightmare, amid the crash and hollow cries of the nightly winds through tall pines.
It was a dreary day in November, many years later, when I tore up the papers that beheld his handwriting—that wretch who loomed like a hangman behind my back, transforming every staircase into a scaffold. I’d discovered the papers in a basket, and accordingly destroyed them, and placed them in the woodstove. I assembled some small branches and built a fire in the stove, watching the flames consume the haunted remnants of that evil spirit. Let those be the last words that fixed my fate to ruin. Here, in this bright cottage in a vale, I became my own protectress. This little wood became my hiding-place. In a nearby land preserve, I walked with my dog in meadows full of white flowers, alive with butterflies and wildness, that radiant sister to innocence. I became an advocate for Nature. It may seem a trifling service, lest I accomplish any small thing to prove myself worthy, at least I will be kind to my fellow creatures, and delight in every fortunate chance to row my little boat upon that lovely lake, or to swim in those glistening afternoons. To its powers of restoration, I owe my happiness. In spring, the ice melts, and a cool mist rises from the lake and flits about the forest; the sun sparkles on the lake, flickering through bare trees, allowing a glimpse of the water from my kitchen window. By late May, rains drench a lush green canopy. It bursts into birdsong. The woods become a fairy-land—rich in berries and nuts for the sparrow, wood frog and deer. -LCS
In the flash fiction experiment above, I was drawn to Mary Wollstonecraft Shelley’s sublime imagery in her 1818 novel, Frankenstein, and her metaphor of the lake. When her hero/protagonist, Victor Frankenstein, rows across the lake, he sees his beautiful native land of Geneva, and he’s filled with a sense of relief–until he suddenly sees the gigantic creature, climbing a mountain in the distance, and Victor is again consumed by conflicted feelings of guilt, horror, fear, regret, and self-loathing. The lake seems to reflect his best and worst feelings about himself. I borrowed the lines, “I contemplated the lake,” “I took refuge in the most perfect solitude,” and “I passed whole days on the lake,” directly from Shelley’s novel, and kept those particular lines in mind as I wrote this flash fiction piece about a time, a dozen or so years ago, when I took refuge on a lake in Maine. There was in fact a “monster” of sorts, but not the kind that Victor reanimates in his apartment. The rest of my flash fiction piece is my own writing although I did experiment with a writing style that aspires to invoke the spirit of Mary Shelley, and a bit of her mother, too, Mary Wollstonecraft, especially in the line, “I became my own protectress,” even though neither Wollstonecraft nor Shelley ever penned that line. Both advocated for the idea of women becoming a “protectress” rather than looking to a man to fulfill that role. (See Mary Wollstonecraft’s A Vindication of the Rights of Woman, 1792)
Water is a strong element in Mary Shelley’s writing; she seems to use the water element–whether mist, ice, snow, rain, lakes and the river–to convey human emotion. The type of water she uses and the condition of the weather seems to match the emotional condition of her characters.
In June 2019, I traveled to southwest Ireland, Co. Cork, to attend a conference at UCC, to explore nature preserves, to learn more about Ireland’s saltmarshes and intertidal zone. I participated in a traditional seaweed harvesting workshop and paddled a kayak on Lough Hyne, a rare saltwater lake. I also visited a saltmarsh in Kinsale, outside of the city of Cork. I learned a lot while I was there. Here’s a quick overview of Irish saltmarshes:
Sorry about the typo above. This is a map showing the saltmarshes along the Irish coast (2017 data from Wetland Survey Ireland.
I went to a bird sanctuary in Kinsale. It’s a restored saltmarsh. The marsh is an artificial lagoon with restored saltmarsh habitat for conservation. This includes some rare species recorded in the 2007-2008 survey (of all saltmarshes, Ireland). Notable: changes in range, increase in Borrer’s saltmarsh grass (Puccinellia fasciculata) found here. It was a really windy day and the wind kept pushing my binoculars against my face as I watched egrets. 
Cammogue Marsh Wildlife Marsh and Bird Sanctuary, Kinsale, Co. Cork, Ireland (Stetson photo)
Literary analysis and figurative language are among my favorite subjects to teach my students in English Composition. While other teachers might find these akin to “pulling teeth,” I thrive on the challenge. I like to create original hand-outs for my students for each assignment, or in some cases, multiple worksheets. My teaching persona might be considered “the Hand-out Queen,” if there are such things. (What’s your teaching style? Aren’t there quizzes in magazines for this?)
Literary analysis, also known as literary criticism, is a tool that writers use to examine elements in fiction, creative nonfiction or poetry. When a writer uses this tool, the objectives of the essay might include answering some of these questions about the literature:
- What is the story or book (or collection) about? (this does not mean that you write full plot summary or a book report)
- What is the problem or conflict in the story, book or poem?
- What points is the author or poet trying to make about society, love, religion, war, culture, or some other important topic?
- What’s the main idea of the poem or story?
- What symbolism is used? Analogies, central themes?
- What lies beneath the surface? Is there an underlying tension?
- What kinds of emotional response does this piece of lit. bring about for the reader? Does it bother you? Did it affect you in any way? Any elements of surprise, suspense?
The above list is just the beginning. Of course, I start with the basics, including an understanding of metaphor, point of view, character development and how to write a thesis statement. But my students still appreciate seeing some additional examples that dig a little deeper. I offered this lesson to be helpful. Maybe others will find this useful, too.
Revising & Strengthening Literary Analysis Essays
My dining table has become the “grading station”
- Make sure to have a clear thesis statement in your first paragraph (or the opening sentence of second paragraph). This thesis statement will direct the essay.
- Make sure to have quotes from the literature you’re analyzing (quotes from the text) —These quotes will range the gamut from short phrases to longer “block quotes,” which you must indent & center (and format single-spaced).
- Make sure to correctly identify whether it is a novel (fiction)—and identify which genre, e.g. detective/crime story, suspense/thriller, Victorian gothic, science fiction fantasy, novelette, which is a short novel, such as Shirley Jackson’s We Have Always Lived in the Castle); or a creative nonfiction book such as a memoir, travel narrative such as Eat Pray Love by Elizabeth Gilbert, science and nature memoir, such as Annie Dillard’s Pilgrim at Tinker Creek; or short story, such as “The Open Window;” or an essay.
- Make sure that you have correctly identified the type of narrator (e.g. omniscient (all-knowing), a named character in a novel (whether a protagonist or minor character), the author (if memoir), and kept that distinct throughout your essay. Be careful not to confuse these.
If you have selected to analyze an entire book, for example, a memoir—
let’s say, John Berendt’s Pulitzer Prize-nominated creative nonfiction book, Midnight in the Garden of Good and Evil (1995), there is a LOT to analyze in a full book. However, in a short literary analysis essay, you’d be wise to focus your thesis statement on one concept or two themes, and dig into that idea, or parallel ideas, from a multitude of angles. For example, you might notice a lot of scenes, conversations between people in the book and references to “house-proud Savannah” and the pride of the residents in the Georgia city. You might also notice how Berendt uses contrast to depict envy among the same people. As a reader, you could step back and look at “pride” as a positive and “envy” as a negative; go further, and we look at “good and evil” as “pride and envy.” Or, as another example, you might be more interested in the theme of what it means to be “a true Savannahian.” Whatever grabs your interest is likely to work well in an essay that you craft.
Then we can skim through the book, and hopefully you have thought to annotate the text with sticky notes to color-code your favorite quotes. If not, you’ll have to go through the text again and find passages in the book that mention “jealousy,” “envy,” “pride” or “proud” (or “house-proud,”) or any characterizations that speak to these concepts. Select 4-10 quotes. You want a combination of short phrases, any special terms coined by the author or a character, location-specific phrases that are relevant to your analysis/thesis statement, a longer quote that you will indent to create a block quote. See below for a few examples of a phrase, a sentence quoted in the body of your paragraph an indented block quote. If you have a long quote and you want to use only parts of it but to keep it mainly in tact, use a […] << like that within the quote and within the body of your paragraph. This keeps it sleek. Nothing in quotes should appear in your essay unless it is a direct quote from the text. In other words, don’t put something in quotes if it is from your brain; it will confuse the reader.
An exception to the quote rule: if you’re quoting a literary critic, who has made a comment on the text that you’re analyzing, in which case you’re quoting that critic AND you must then cite that source and attribute that concept to the literary critic. Hot tip: if you quote a literary critic, keep that reference to a minimum and put it in one paragraph. You don’t want to confuse your reader and have quotes from literary critic(s) mixed in with quotes from the narrator and quotes from the characters or real people in the text.
Here is my example. This is a snippet of a literary analysis essay I wrote about John Berendt’s Midnight in the Garden of Good and Evil:
In “house-proud Savannah,” the reader quickly sees the lush lawns and elaborate porches of the prominent homes “north of Gaston” (Berendt, 48). But what most visitors may not realize is that there are rules in Savannah. These rules dictate socially acceptable behavior for a “true Savannahian.” We know that the narrator and author, John Berendt, is a writer from New York, not a native to Georgia. He meets Joe, who explains the rules of Savannah living. Joe says, “Rule number one: Always stick around for one more drink. […] That’s when you find out everything you want to know.” Throughout the story, John attends a number of cocktail and dinner parties, and he engages in lively conversations with colorful characters—all real people living in Savannah. One thing he learns: locals are more forthcoming with him after he has earned their trust and they have had a few drinks together. It is during one of these parties that he sees the shadow-side of a prominent figure in the community and learns the truth about a crime, a murder.
Joe’s discussion of “the Rules” continues— “Rule number two: Never go south of Gaston Street. A true Savannahian is a NOG. ‘NOG’ means ‘North of Gaston.’ We stay in the old part of town.” The reader is permitted entrance into this tightly-knit, exclusive community—Savannah—and through Berendt’s writing, gains the privilege of learning these local secrets, or rules, for society, or at least, for Savannah. We learn what it means to be a “true Savannahian,” one who sticks around for one more drink, stays “north of Gaston,” and finally, “observes the high holidays,” such as St. Patrick’s Day and the annual football game (Berendt, pg. 48). We later learn that there are consequences for breaking the rules of Savannah living, or repercussions for failing to be “a true Savannahian.” ~LCS
Another example. Fiction. Looking at “coming of age” and peace/purity versus darkness/devil (or fear v. wonder) themes in Peter Benchley’s short novel, The Girl of the Sea of Cortez (1982). Notice the use of an indented block quote in an excerpt of my essay:
Peter Benchley’s novelette is a magical story with elements of suspense, not unlike his famous novels, Jaws and The Deep. However, unlike those other full-length novels, The Girl of the Sea of Cortez is a coming-of-age story. Paloma is a girl of sixteen, whose name means “dove,” a symbol of peace, purity and of “the Holy Spirit.” She lives in a village beside the Sea of Cortez and thrives on her saltwater swims and boating expeditions into her own world of magic and sea life. By 16, Paloma has encountered many sea creatures, including sharks and barracuda, and she has indigenous knowledge—partly taught by her late father and partly by her brother, Jobim, also known as Jo. Her brother’s knowledge of geology and marine life had come from his elders; Paloma prefers to learn by observation and first-hand experience. She embraces fear and curiosity equally—but above all, maintains a sense of wonder about the sea world.
“Paloma looked up. One behind another, a procession of hammerhead sharks passed overhead in a parade. Their silver-gray bodies were as sleek as bullets and the sunlight touched the ripples of moving muscle and made them sparkle. Paloma loved the hammerheads, for they seemed somehow to focus her thoughts about God and nature.” (Benchley, 26)
Paloma considers that if there were any animal that were “particularly blessed,” it would be the hammerhead shark. Sharks had been “critical to the island’s survival” and yet, the hammerhead species had survived there for millions of years. (Benchley, 26) Most 16-year-olds would be terrified to swim with hammerhead sharks, which are known to attack divers in other parts of the world. But Paloma understands the sharks. She admires them. She understands them. She uses her fear as a tool, as she might a fishing knife or piece of rope within her diving bag. By contrast, when she encounters a giant manta ray for the first time, she faces a new type of fear and must conquer that fear. The manta ray, known locally as a “Manta Diablo,” or “black devil fish,” symbolizes the very antithesis, or opposite, of the young pure-of-heart Paloma.
As the story develops, Paloma explores the Sea of Cortez, puts herself in close proximity with the “Manta Diablo” and compels herself to conquer her fear. She finds a deep resolve within herself and gains a profound understanding for the nature of things, and more importantly, her identity as she becomes a woman. Benchley illustrates her sea adventures as if each one were a rite of passage, which Paloma herself has invented. No one is telling her to seek out the “black devil-fish,” let alone ride on top of the ray, in fact, her brother and the others warn her to stay away from the mysterious creature, a thing of myth and mystery. Despite those warnings, Paloma swims with the manta ray and rides on its back. She conquers her fear, comes to know herself more confidently and enriches the local knowledge and understanding of the manta ray’s behavior and biology through her observations. ~ LCS
Yesterday, I took Sophie-Bea on a walk along the Great Pond Trail in Cape Elizabeth. I was a little confused 
about the parking situation but learned that it’s not appropriate to park in the neighborhood next to the trail head–and in the summertime, it’s not permitted to park at the lot in front of the neat little cafe and ice cream stand with the mermaids painted on the side of the building. So I goofed. I parked in the wrong spot and I was reprimanded. Lesson learned! In the meantime, we did have fun exploring the maze of trails that travel along the edge of Great Pond, the largest wetland in Cape Elizabeth. Sophie-Bea bush-wacked through the tall grass like she was Crocodile Dundee. By the end of our walk, her white legs had turned to black stockings from the mud.
Under the Trestle
As kids, we tread against the tide in the Sheepscot River,
A persuasive current, funneled and slowed, cold spots
To make us shiver, kick harder, beneath the trestle bridge
Of the ol’ Downeaster railroad, where young swimmers
Like me were not supposed to go but the urge to stop
Paddling and let the undertow, take us in tow,
Irresistible, like bait to boys with fishing poles
Braver, leaping off rope swings, off ledges
At the secret swimming holes.
I was the only girl–or child–to be towed
Beneath the trestle, as if beckoned, I allowed
That blue argument of warm and cold clash
Incoming and outgoing current, ebb and flow
It suctioned and snagged ankles and torso
Rockweed whipped by like tumbleweed
Cartoon-like, or an old movie reel I’d seen
Flipping at the end, spitting “oh hang it”
Engulfed and spat out the other side
The open harbor, floating in a briny
Stew, tickled by eel grass, I’d
Resist putting my foot down
Into that muddy bed, a vast
Sheath of known daggers:
Razor-clams, mussel shells,
Long-necked clams and
Sharp-necked beer bottles,
Worse than shark-bite fears,
Shards of broken glass—
Their deep cuts stung.
And then, you were sorry.
I’m experimenting with a poem that I didn’t like and sitting with it for a bit.
Kelp Nets
Sea otters dream in the dark tide,
Curl up in kelp streamers to hide,
Disguise their pups when tired
In between swimming lessons.
My mate studies the path of water,
It carves canyons and shapes streambeds.
I am resilient and cope with pressure
But susceptible—too easily contaminated.
He seeks to define the limits of my aquifer,
A leaky bucket of beach sand & sea glass,
Tumultuously tipped by man’s hand.
I am ninety percent like the otter
Made of fur and snout and salt water,
Swimming five months in the rivers;
Beneath my coat, I am a nymph
Mending the kelp nets torn from tillers.
Fins side out, I am a fish instead
Darting hyper-vigilant,
Then drifting half-dead
In the churn of sediments
the mouth delivers.
Granite bones
Inside this squishy island figure,
Curved by glaciers and hormones,
The Gulf Stream—tempt his geological
Urge to measure the reversible current
Push-pulling me along a coast
Without houses I dream.
LCS
Possible gnome footprints
Sophie-Bea and I walked at Morgan Meadow again today. It was easy-going, since other walkers, cross-country skiiers, hikers on snowshoe and snow-machines had packed the snow down solid. It felt like walking on tundra. We didn’t see any wildlife but we followed some interesting tracks here and there. Mostly deer. It’s 36°F and feels good in the lungs. Spotted a few tree trunks perfect for building gnome homes, although, it’s possible someone was already living there.
Sophie-Bea on Morgan Meadow Trail
My pointer-dachshund bounded down the trail…elated to be out of the house and somewhere other than the woods at Nixie’s Vale. We’re both restless. I love seeing her so happy.
Happy ears, happy dog
Morgan Meadow, a wildlife preserve that’s a combination of wetland and upland (1,081 acres), is managed by the State of Maine Inland Fisheries and Wildlife Department and the Town of Raymond. The Raymond Conservation Commission played a strong role in the project several years ago. For information and a map of this preserve, click here.
New Moon Tiger
When I was little, big cats were my favorite.
I liked nature programs on PBS, picture books
Depicting lions, tigers, cheetahs, and ocelots.
Once, a panther prowled through our yard
We looked out through the windows (my cat,
And I, safely inside) at the predator, whose
Shoulder blades worked like perfect gears.
Now I keep dreaming of tigers, the great
Healers of the animal kingdom. My dream
Dictionary tells me tigers represent innate
Feminine power, raw emotions, intuition,
The ‘shadow part’ of me, and sensuality,
My will-power, courage and strength.
She symbolizes ‘yin’ and moon energy.
In my dream, I walk beside her, this bengal
Tigress, black-striped, electric-wiry orange
Fur swallows my fingers as I pet the beast.
She chuffs, ears pricked and muscles flexed
We are hunting –primal instincts act fast.
Our taut muscles hold quiet power; in tune
With the mangrove, the dream-jungle forest,
Nature’s rhythms, my lineage, acute senses.
According to Chinese wisdom, the female tiger
Comes to the mystic dreamer on a vision quest
She casts dark moon spells and augers fertile
Desires in a ferocious-hearted breast; a spirit
Animal like this, gnashes her teeth, a vital
Sign, secretive and solidified—these truths
Tell a deeper story—how to trust, how to fight.
I was born the wintry month of water tigers,
The daring daughters of the zodiac, often
Found among extremely prolific writers.
She remains calm, swims through calamities
An appetite for life and a long polished tail,
Her coping mechanism, and it’s a good one
Triggers hidden aggression, coaxes the male
Rolls around for three days of mating rituals.
When I wake from the recurring dream, I realize
There was no danger; I was unafraid of the tiger,
Unpredictable she may be, I know she personifies
My spontaneity and super-adventurous vigor;
Sure enough, it takes guts, I crouch beside her,
My dream-deity, subterranean patient part of me,
Tigers don’t walk for exercise; we are hunting.
We are hunting for the dragon, the ‘yang,’
Sun and fire chi, that waits, hot-winged,
Smoke-mouthed with gleaming fangs;
The solitary tigress—in dreams,
Shows the way to sanctuary.
Leah C. Stetson
Poet’s note: This is a work-in-progress and part of the Tupelo Press’s 30/30 Poetry Challenge to raise funds for the nonprofit literary press. Please mention my name when you make a donation. Thank you for reading and following my blog. I also encourage you to read the fine work of my fellow poets on the Tupelo Press’s 30/30 blog page here. 
My Woods In Winter
When I settled at Nixie’s Vale, a nod to Tennyson,
A small cape at the foot of Rattlesnake Mountain,
Rare blue butterflies flit from a black ash seep,
An ecosystem valued by the Wabanaki people
For the basket-grade texture of the trees’ bark;
I studied economic botany in college, but then
Distracted myself with conservation plans,
Policies and “best management practices,”
And the accompanying fact sheets, which
I posted online (to save paper).
In winter, without leaves, most of my trees
Lean in white arches, doors to other worlds,
Witches’ brooms at an imaginary threshold,
Or so I liked to believe, as a child of whimsy.
Since living here beside a freshwater pond,
I’ve learned about the vortex, a crossway
For the spirits of warriors and healers.
A perennial stream carries rainwater down
Off the mountain, through underground
Tributaries intersecting in a fern-filled gully
Spilling into what was once known
As “Little Rattlesnake Lake.”
Like my trees, I am a pioneer, and thrive
Even in disturbed areas, and I somehow
Hold the sunken soils together and live
Protected from storms, my curly crown
Golden-rust-colored and silky, hairy tips
And tapered branchlets like fingers run
Over pale conspicuous scars, ripened cups
Whorled and heart-shaped shields, sun
Dried, revealing the broken-off ends
That once supplied water to downy buds.
I am broad and thornless, a windbreaker
My father raised me to nibble wintergreen
And build lean-tos; I cool the temperature
Dangle catkins, a snowy, pine-needled scene;
Write a ragged understory, which needs cutting:
It’s taking seed—overgrown, too pendulous,
In the pithy soft inner core of me, all foreseen,
Long foretold in pages I once loved to read—this
Sturdy soul’s rooted in Hawthorne’s hometown.
-Leah C. Stetson
Poet’s note: This poem is part of a 30/30 Poetry Challenge in support of the Tupelo Press. Please consider making a donation or subscribing to one of their fine publications. 
The Adventures of Fen Fatale ~ Ecoheroine 