Gordis
BC 3180
Spring 2007

READING THE SKETCH-BOOK OF GEOFFREY CRAYON, GENT.

Washington Irving (1783-1859) left New York for Europe in 1815. In 1819 he began to send the sketches of The Sketch Book of Geoffrey Crayon, Gent. to the United States for serial publication. As you read these selections from The Sketch Book, think about the relationship they suggest between Europe and America. You’ve already considered "The Author’s Account of Himself." How are the contrasts laid out in that sketch played out in the other sketches? As you read the European sketches ("The Art of Bookmaking" and "Christmas Day"), consider what Crayon finds interesting or appealing in Europe. Conversely, are there ways in which he seems disappointed with what he finds in Europe? What does "The Art of Bookmaking" suggest about stories and storytelling?

Then read the sketches set in America. What subjects attract Crayon’s attention? What do these four sketches have in common? You might want to think about "Traits of Indian Character" and "Philip of Pokanoket" as a pair, and about "Rip van Winkle" and "The Legend of Sleepy Hollow" as a pair. How does Crayon treat Native American subjects? What issues does he

focus upon, and how does he represent them? Pay close attention to the metaphors he uses, as well as to images or words that recur in these two sketches. For example, how does he describe the destruction of Native American peoples?

Scholars have often debated how "Rip Van Winkle" and "The Legend of Sleepy Hollow" fit into The Sketch-Book. How do these stories seem different from the other sketches? On the other hand, to what extent do they address themes that run through The Sketch-Book as a whole? What do they suggest about storytelling and storytellers? How do Irving's adaptations of older stories compare with "The Art of Bookmaking"?

As you consider these questions, consider as well the role of Crayon as narrator. Because Irving, like his narrator, traveled to Europe (in fact staying abroad for seventeen years), some readers are tempted to view Crayon and Irving as interchangeable. At several points, however, Irving seems to be playing with Crayon’s limitations. Take note of these points as you read the sketches. Conversely, at points it’s less clear that there’s distance between Crayon’s voice and Irving’s voice. Again, take note of points at which it’s more difficult to distinguish the voices or opinions of Crayon and Irving. More broadly, how ironic is this text?