Traditional nature writers often describe the benefit man can derive from interacting with nature. For example, in Nature , Ralph Waldo Emerson describes "in the presence of nature a wild delight runs through man, in spite of real sorrows" (Emerson 38). Furthermore, he purports that "in the woods we return to reason and faith" (Emerson 39). Nature is described as a renewing force that can help man regain focus in his life. Emerson sees nature as a valuable metaphysical resource that can provide man with an improved perspective. A similar approach to nature is taken by John Burroughs, as he communicates in Birch Browsings the "tranquil, luxurious side of Nature" he experiences by living in the woods. He further describes how surrounding oneself with nature can "thrill the wild blood in one's veins" (Burroughs 108).
[...] The toxic cloud seems to be impressive because it a live version of something the family might watch on television. Even as the family is realizing they are in danger, they also feel some excitement at their chance to view the cloud up close. In DeLillo's novel, the artificial world created by humans is extended even to the concept of death, a universal natural phenomenon. Death is dehumanized and made more manageable by converting it into data. For example, after Jack realizes he has been exposed to Nyodene he learns from a SIMUVAC technician that he is in danger of dying. [...]
[...] It won't go away'” (196). Babette is plagued by a fear of dying yet she has no specific reason to expect her death is imminent. By separating the fear of death from any particular cause of dying, death is made artificial—Dylar is not designed to combat death itself, but merely the suggestion of it. Likewise, Babette describes how Dylar is designed to work. She describes to Jack that scientists “‘isolated the fear-of-death part of the brain. Dylar speeds relief to that sector'” (200). [...]
[...] When only two bodies are found following an extensive digging event, Jack describes the “sense of failed expectations was total. A sadness and emptiness hung over the scene” (222). The media coverage is regarded as a movie with a disappointing plot—the audience is detached from the identity of the bodies as being real people and instead desires only a gruesome spectacle to observe. In fact, the influence of the media is so extensive that as the Gladney family evacuates their home during the airborne toxic event, they even see elements of entertainment in the disaster that has enveloped them. [...]
[...] In the novel White Noise[5], Don DeLillo also addresses the interaction of humans and nature. We perceive an end to nature as Delillo portrays an exaggerated consumer-driven modern society in which everything is artificial. Modern technology has eradicated all elements of nature from everyday life. Even natural disasters are rivaled by manmade catastrophes and it is only the media that is trusted for information. People guard themselves against nature through artificial means, yet we see how a life designed to combat nature does not actually make people any safer as humans seem to be the biggest danger to themselves. [...]
[...] Furthermore, Jack later describes that even though areas of the town are beginning to fall into disrepair, the supermarket remains a safe and happy place. He expresses the feeling that “[e]verything was fine, would continue to be fine, would eventually get even better as long as the supermarket did not slip” (170). The supermarket is a source of comfort; its gross amounts of products allow people to escape their concerns and fears. DeLillo likely best describes the artificial nature of modern society by the dependence of people on the media. [...]
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