See America First — Background and Themes
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See America First — Background and Themes can be approached with a clearer sense of reading commitment from its source measurements: 110,561 words, 8 hr 1 min estimated reading time, and 9 detected text sections.
The text analysis averages about 23.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “United States -- Description and travel,” connecting these edition facts with the source record’s subject description.
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Thus said Hiawatha, walking In the solitary forest, Pondering, musing in the forest, On the welfare of his people. From his pouch he took his colors, Took his paints of different colors. On the smooth bark of a birch tree Painted many shapes and figures, Wonderful and mystic figures, And each figure had a meaning, Each some word or thought suggested.
Gitche Manito, the Mighty, He, the Master of Life, was painted As an egg, with points projecting To the four winds of the heavens. Everywhere is the Great Spirit, Was the meaning of the symbol.
Mitche Manito, the Mighty, He the dreaded Spirit of Evil, As a serpent was depicted, As Kenabeek the great serpent. Very crafty, very cunning, Is the creeping Spirit of Evil, Was the meaning of this symbol.
(footnote From "The Egg and Serpent.")
Here while gazing in wonder at this ancient shrine we recalled how in the stillness and fading light of evening we visited the famous cathedral of Antwerp. The last rays of the descending sun fell through the stained glass and darkened the vast aisles. The grandeur and solemn beauty of this noble pile at this time of day touched the imagination most deeply. Then listening to the mellow music falling as it were from the clouds through the tranquil air of evening, we were enchanted. How those light silvery notes filled our imagination with romantic dreams of old Flanders.
Again we recalled our visit to the Great Cathedral of Cologne, the most complete piece of Gothic architecture anywhere to be found. We mounted the steps of one of the gigantic towers which lift their sublime heads to a height of five hundred two feet, the exact length of the cathedral. Here we gazed out over the level plain that stretched away to the marvelous scenic region of the Seven Mountains. The foundation of this beautiful structure was laid two hundred fifty years before the discovery of America and fifty years before the founding of the Turkish Empire. But the last stone was not laid on the south tower until 1880.
As we listened to the deep-toned bells, how we were thrilled with visions of the past! Here lived Colonia Agrippina, the daughter of Germanicus and the mother of Nero. It was from Cologne that Hadrian received his summons to Rome as emperor. Here, too, Vitellius and Silvanus were both proclaimed emperor in this remote northern camp on the left bank of the Rhine.
But you do not dwell long on the past, for here stands this colossal, magnificent cathedral with its incomparable towers to call your attention to the glorious achievements of man. Men were not the only ones to use this noble edifice as a sanctuary, for out and in among its superb towers numerous birds darted to and fro, where they dwelt safely as in a citadel. Pretty falcons circled gracefully about them as though they were crags of some wild mountain; rooks cawed from their lofty stations below the bells; chimney swifts glued their log cabins to rough stone ledges, and in various niches above the doorway pigeons placed their nests and uttered their messages of peace to all who entered. English sparrows, too, had taken possession here and there just as their countrymen had taken possession of the city.
As we entered the cathedral a mingled feeling of awe and devotion came over us. But it was not the blazing shrine of the eleven thousand Virgins, the magnificent windows through which the morning sunbeams filtered, nor yet the choir, perhaps the most wonderful in the world, that produced this feeling of reverence. "We remembered that this glorious structure had been erected to the 'God of Peace' in the midst of strife and bitterness, and by men estranged by the first principle of the Gospel." But here we beheld French officers, Scotch Highlanders, English and American soldiers, scattered among the Germans, reverently kneeling, devout and hushed at the Consecration. Then we thought how "notwithstanding the passions of men and wickedness of rulers, the building up of the Church of God and of the Christian faith, goes steadily on, unrecorded but continuous."
See America First opens with an Emerson epigraph extolling nature's restorative power, then immediately challenges the reader's travel priorities: 'Scenery, as well as the prophet, is not without honor save in its own country.' The authors target Americans who flock to Europe while ignoring the Adirondacks or the Hudson. Rather than a dry itinerary, the book presents 'Wayside Sketches'—a series of vignettes that blend natural history, personal anecdote, and moral reflection. The excerpts show a writer who pauses to identify a warbling vireo by song, scolds a red squirrel in comic detail, and measures Trenton Falls against Niagara with a Shakespeare quote. This is not a comprehensive guidebook but a persuasive essay in episodic form.
Emersonian Foundations and the Call to Local Wonder
The book's philosophical spine is set early: an Emerson passage about nature's 'active enchantment' precedes the authors' own argument that 'the pleasure we take in travel as well as in literature is enhanced by a knowledge of Nature.' They invoke Thoreau, Burroughs, Bryant, and Muir as models, and quote an Indian saying—'White man heap much book, little know'—to chide readers who lack field knowledge. This is not a neutral description of places; it is a polemic for attentive, informed observation. The authors insist that knowing 'mint from skunk cabbage, or a sparrow from a thrush' transforms a journey. The Emersonian ideal of nature as medicine for 'the tradesman, the attorney' underpins the entire project, making the book as much a moral treatise as a travel account.
Comic Encounters and the Human Comedy on the Road
The excerpts reveal a playful, anecdotal voice that leavens the high-minded philosophy. At Trenton Falls, a red squirrel 'scolding and gesticulating like an Irish cop' steals the scene, and the authors forgive its 'bloody deeds' because it is a 'Master Forester' spreading seeds. Later, an actual Irish cop stops the travelers with 'a volley of questions,' and the encounter ends with neither party wiser. These vignettes—the squirrel, the bluejay crying 'thief!', the policeman—function as comic relief but also as demonstrations of the authors' method: they read landscape and behavior with equal attention. The humor is gentle, self-aware, and rooted in specific observation, not generic travel writing.
Landscape as Revelation: The Mohawk Valley Panorama
Amid the comic episodes, the authors pause for set-piece descriptions that aim to convert the reader. One such passage describes a view of the Mohawk region: 'Miles and miles away stretched the rolling swells of forest and grain land, fading into the dimmest blue of the Catskills.' The prose builds through 'undulating land of brightest green,' streams like 'a ribbon of silver,' and villages with 'rising spires that twinkled in the dreamy atmosphere like stars.' This is the book's core argument made visible: that American scenery, if looked at properly, rivals any European vista. The description is carefully composed, using simile and rhythmic accumulation to create a sense of sublime expanse. It is not a random snapshot but a crafted set piece designed to persuade.
Readers should approach See America First not as a systematic guide but as a series of persuasive essays that mix natural history, personal travel, and Emersonian philosophy. The catalog subject 'United States—Description and travel' is accurate but incomplete: the book is as much about how to see as what to see. Pay attention to the authors' use of literary quotation, their comic set pieces, and their insistence on local knowledge. The excerpts suggest a work that rewards readers who enjoy digressive, opinionated travel writing grounded in specific observation rather than comprehensive coverage.
Reading about Emerson’s insistence on the familiar sublime, I remembered a grey afternoon in Pennsylvania, watching rust-colored oak leaves drift onto a coal-dark creek. It felt quietly profound, much like the stillness that settled over me while reading My Three Days in Gilead — that same gentle ache for place, for the sacredness hidden in unremarkable ground. Both books whisper that wonder rarely travels far. My Three Days in Gilead — Edition Insights holds that particular hush.
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