“Yes, I was infatuated with you; I am still. No one has ever heightened such a keen capacity of physical sensation in me. I cut you out because I couldn't stand being a passing fancy. Before I give my body, I must give my thoughts, my mind, my dreams. And you weren't having any of those.”
-Sylvia Plath, The Unabridged Journals of Sylvia Plath - July 1950 - July 1953
(Here is one of my short essays looking at James’ Agee’s depiction of a childhood memory. Agee wields lucidity and the human senses to his advantage, crafting the scene for the reader in such a way that readers may even wonder if Agee’s memory is their own. I highly recommend reading the essay on your own, too.)
Writing a Memory
(Jack. C. February, 2024)
James Agee accomplishes something in his essay, “Knoxville: Summer of 1915,” that many writers can never do: Agee writes a memory. But not just any memory—an accurate one. Not often can authors convey the essence of a dreamlike memory without having it feel patchy or even unrealistic. Meanwhile, Agee cleverly uses language and style tactics to his advantage in order to poetically describe his memory of the Knoxville summer of his youth, so readers feel as though they were there themselves.
When it comes to Agee’s thesis, many will disregard Agee’s essay as being pointless. Nevertheless, that is not the case. Instead, Agee does not attempt to push for a specific point but instead strives to keep his thesis elusive in the hopes of his message being an essence of itself. In a way, it is almost as though the essay becomes a vessel for an attempt to see if Agee can accurately describe his memory, which he achieves. Of course, there are underlying themes that one may view as the thesis, such as the sense of collective living as depicted in the “hose scene,” but overall, no direct thesis is ever stated.
As mentioned, Agee’s essay captures a memory from his youth. One instance of this would be during what some may call the “hose scene.” Agee has somehow written in his essay about hoses for almost an entire page. One line reads, “Out of any one hose, the almost dead silence of the release, and the short still arch of the separate big crops, silence as a half breath, and the only noise the flattering noise on leaves and the slapped grass at the fall of each big drop” (Atwan, Oates, p. 172). There exists no better way to describe a memory than relaying for the reader the sounds over and over, for, in a sense, most memories are simply our senses being preserved and reexamined.
In terms of the style of Agee’s essay, he attempts to bring readers closer—closer to himself, but more importantly, closer to his memory. Perhaps readers may even begin to wonder if this memory exists as one of their own. Readers feel confident in Agee’s view as no hesitation or second-guessing exists regarding his style. Moreover, Agee may even be hyper-confident, considering the use of an entire page to discuss hoses. Personally, I ended up buying Agee’s book, A Death in the Family, after reading his essay. His poetic and elusive style is something I wish to be able to emulate one day. In the end, Agee accomplishes what many authors fail to do: accurately portraying a memory so vividly that the reader feels as though it may be their own.
Works Cited
Atwan, Robert, and Oates, Joyce Carol. The Best American Essay of the Century. Houghton Mifflin Co., 2000.
"I think unrequited love is just as valid as any other kind. It's just as crushing and just as thrilling. No matter what happens in this situation, I want you to remember that what you are doing is selfless and beautiful and kind. You are loving someone purely because you love them, not because you think you'll ever have your affections reciprocated. You are admiring something for its beauty, without needing to own it. Feel good about being the kind of person who loves selflessly. I think someday you'll find someone who loves you in that exact same way."