'Part 3 of Trout Fishing in America' by Richard Brautigan
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TROUT DEATH BY PORT WINE
It was not an outhouse resting upon the imagination.
It was reality.
An eleven-inch rainbow trout was killed. Its life taken
forever from the waters of the earth, by giving it a drink of
port wine.
It is against the natural order of death for a trout to die
by having a drink of port wine.
It is all right for a trout to have its neck broken by a fisherman
and then to be tossed into the creel or for a trout to die from
a fungus that crawls like sugar-colored ants over its body
until the trout is in death's sugarbowl.
It is all right for a trout to be trapped in a pool that dries
up in the late summer or to be caught in the talons of a bird
or the claws of an animal.
Yes, it is even all right for a trout to be killed by pollution,
to die in a river of suffocating human excrement.
There are trout that die of old age and their white beards
flow to the sea.
All these things are in the natural order of death, but for
a trout to die from a drink of port wine, that is another thing.
No mention of it in "The treatyse of fysshynge wyth an
angle," in the Boke of St. Albans, published 1496. No mention
of it in Minor Tactics of the Chalk Stream, by H. C. Cutcliffe,
published in 1910. No mention of it in Truth Is Stranger than Fishin',
by Beatrice Cook, published in 1955. No mention of it in
Northern Memoirs, by Richard Franck, published in 1694.
No mention of it in I Go A-Fishing, by W. C. Prime, published
in 1873. No mention of it in Trout Fishing and Trout Flies, by Jim
Quick, published in 1957. No mention of it in Certaine Experiments
Concerning Fish and Fruite, by John Taverner, published in 1600.
No mention of it in A River Never Sleeps, by Roderick L. Haig Brown,
published in 1946. No mention of it in Till Fish US Do Part, by Beatrice
Cook published in 1949. No mention of it in The Flyfisher & the
Trout's Point of View by Col. E.W.Harding, published
in 1931. No mention of it in Chalk Stream Studies, by Charles
Kingsley, published in 1859 No mention of it in Trout Madness
by Robert Traver, published in 1960.
No mention of it in Sunshine and the Dry Fly, by J. W.
Dunne, published in 1924. No mention of it in Just Fishing,
by Ray Bergman, published in 1932. No mention of it in Matching
the Hatch by Ernest G. Schwiebert, Jr,, published in 1955. No mention
of it in The Art of Trout Fishing on Rapid Streams by H. C. Cutcliffe,
published in 1863. No mention of it in Old Flies in New Dresses by
C.E. Walker, published in 1898 No mention of it in Fisherman's
Spring, by Roderick L, Haig-Brown, published in 1951.
No mention of it in The Determined angler and the Brook Trout,
by Charles Bradford, published in 1916. No mention of it in Women
Can Fish by Chisie Farrington, published in 1951. No mention
of it in Tales of the Angler's El Dorado New new Zeland
by Zane Grey, published in 1926. No mention of it in The Flyfisher's
Guide, by G.C. Bainbridge, published in 1816.
There's no mention of a trout dying by having a drink of
port wine anywhere.
To describe the Supreme Executioner: We woke up in the
morning and it was dark outside. He came kind of smiling
into the kitchen and we ate breakfast.
Fried potatoes and eggs and coffee.
"Well, you old bastard, " he said. "Pass the salt. "
The tackle was already in the car, so we just got in and
drove away. Beginning at the first light of dawn we hit the
road at the bottom of the mountains, and drove up into the
dawn.
The light behind the trees was like going into a gradual
and strange department store.
"That was a good-looking girl last night, " he said.
"Yeah, "I said. "You did all right. "
"If the shoe fits....." he said.
Owl Snuff Creek was just a small creek, only a few miles
long, but there were some nice trout in it. We got out of the
car and walked a quarter of a mile down the mountainside to
the creek I put my tackle together. He pulled a pint of port
wine out of his pocket and said wouldn't you know."
"No thanks," I said.
He took a good snort and then shook his head, side to side,
and said, "Do you know what this creek reminds me of?"
"No," I said, tying a gray and yellow fly onto my leader.
"It reminds me of Evageline's vagina, a constant dream
of my childhood and promoter of my youth."
"That's nice," I said.
"Longfellow was the Henry Miller of my childhood," he
said.
"Good," I said.
I cast into a little pool that had a swirl of fir needles going
around the edge of it. The fir needles went around and around.
It made no sense that they should come from trees. They looked
perfectly contented and natural in the pool as if the pool had
grown them on watery branches.
I had a good hit on my third cast, but missed it.
"Oh, boy, " he said. "I think I'11 watch you fish. The stolen
painting is in the house next door. "
I fished upstream coming ever closer and closer to the
narrow staircase of the canyon. Then I went up into it as if
I were entering a department store. I caught three trout in
the lost and found department. He didn't even put his tackle
together. He just followed after me, drinking port wine and
poking a stick at the world.
"This is a beautiful creek, " he said. "It reminds me of
Evangeline's hearing aid. "
We ended up at a large pool that was formed by the creek
crashing through the children's toy section. At the beginning
of the pool the water was like cream, then it mirrored out
and reflected the shadow of a large tree. By this time the
sun was up. You could see it coming down the mountain.
I cast into the cream and let my fly drift down onto along
branch of the tree, next to a bird.
Go-wham !
I set the hook and the trout started jumping.
"Giraffe races at Kilimanjaro!" he shouted, and every
time the trout jumped, he jumped.
"Bee races at Mount Everest !" he shouted.
I didn't have a net with me so I fought the trout over to
the edge of the creek and swung it up onto the shore.
The trout had a big red stripe down its side.
It was a good rainbow.
"What a beauty, " he said.
He picked it up and it was squirming in his hands.
"Break its neck, " I said.
"I have a better idea, " he said. "Before I kill it, let me
at least soothe its approach into death. This trout needs a
drink. " He took the bottle of port out of his pocket, unscrewed
the cap and poured a good slug into the trout's mouth.
The trout went into a spasm.
Its body shook very rapidly like a telescope during an
earthquake. The mouth was wide open and chattering almost
as if it had human teeth.
He laid the trout on a white rock, head down, and some
of the wine trickled out of its mouth and made a stain on the
rock.
The trout was lying very still now.
"It died happy, " he said.
"This is my ode to Alcoholics Anonymous.
"Look here !"
Editor 1 Interpretation
The Wondrous World of Trout Fishing in America: An Interpretation and Criticism of Part 3
Introduction
Richard Brautigan's Trout Fishing in America is a classic work of American literature, and Part 3 of the book, which bears the same title as the book, is a fascinating and surreal journey through the landscape of the American West. In this literary criticism and interpretation, we will explore the themes, symbolism, and stylistic elements of Part 3, and seek to understand the ways in which Brautigan's unique literary voice captures the essence of America and its contradictions.
Themes
At its core, Trout Fishing in America is a meditation on the American experience; its dreams, aspirations, and failures. Part 3 delves deeper into this theme, exploring the idea of the American West as a vast and open space, both physical and metaphorical, where new possibilities and dangers lurk around every corner.
One of the main themes of Part 3 is the tension between civilization and wilderness. Brautigan portrays the American West as a place of untamed beauty, where nature is both majestic and unpredictable. His descriptions of the landscape are vivid and poetic, drawing on the senses to convey the sensory experience of being in the wilderness. But alongside this natural beauty, there is also a sense of danger; the West is a place of uncertainty, where one can easily get lost or fall prey to its many hazards.
Another theme that runs through Part 3 is the idea of travel as a transformative experience. Brautigan's narrator is constantly on the move, exploring new landscapes, meeting new people, and experiencing new things. This sense of restlessness is mirrored in the fragmented structure of the text, which jumps from one scene to another without any clear narrative thread. In this way, Brautigan captures the sense of dislocation and disorientation that comes with travel, and suggests that it is through this experience of being lost that one can find oneself.
Symbolism
Part 3 is full of symbolic imagery that helps to convey its themes and ideas. One of the most striking symbols is that of Trout Fishing in America itself. The act of fishing for trout becomes a metaphor for the broader human endeavor of seeking meaning and purpose in life. The narrator's quest for trout is a quest for something elusive and mysterious, a way of connecting with nature and with the unknown.
Another important symbol in Part 3 is that of the car. Brautigan's narrator is constantly driving through the American West, and his car becomes a symbol of freedom, mobility, and independence. But at the same time, the car is also a symbol of the destructive impact of human civilization on the natural world. The roads that the narrator travels on cut through the wilderness, leaving scars on the landscape and disrupting the delicate balance of nature.
Stylistic Elements
Brautigan's writing style is unique and often surreal, blending poetry, prose, and stream-of-consciousness narration. Part 3 is particularly experimental in its structure, with short vignettes that are often only loosely connected to one another. This fragmented style captures the sense of dislocation and disorientation that comes with travel, and reflects the narrator's own sense of being lost in the world.
Another distinctive element of Brautigan's style is his use of humor and irony. Part 3 is full of absurd situations and humorous observations, but this humor is often tinged with a sense of melancholy and loss. Brautigan's humor is a way of coping with the strangeness of the world, but it is also a way of acknowledging the futility of human endeavor in the face of the vastness of the natural world.
Conclusion
In conclusion, Part 3 of Trout Fishing in America is a fascinating and surreal journey through the landscape of the American West. Brautigan's unique literary voice captures the essence of America and its contradictions, exploring themes of wilderness and civilization, travel and transformation, and the elusive search for meaning and purpose in life. Through his use of symbolism and experimental style, Brautigan creates a work of literature that is both poetic and philosophical, and that speaks to the human condition in a way that is both universal and deeply American.
Editor 2 Analysis and Explanation
Part 3 of Trout Fishing in America by Richard Brautigan is a classic story that takes readers on a journey through the author's experiences with trout fishing. The story is filled with vivid descriptions of the natural world, humorous anecdotes, and philosophical musings on life and the human condition.
At its core, Part 3 of Trout Fishing in America is a meditation on the relationship between humans and nature. Brautigan uses his experiences with trout fishing to explore the ways in which humans interact with the natural world, and the impact that these interactions can have on both the environment and our own sense of self.
One of the key themes of the story is the idea of connection. Brautigan writes about the ways in which humans can connect with nature through activities like fishing, and how these connections can be transformative. He describes the feeling of being out in nature, surrounded by the beauty and majesty of the natural world, and how this can lead to a sense of peace and contentment.
However, Brautigan also acknowledges the ways in which our interactions with nature can be destructive. He writes about the impact of pollution and overfishing on the environment, and the ways in which these actions can harm the delicate balance of the natural world. He also reflects on the ways in which our own desires and needs can lead us to exploit nature for our own gain, rather than respecting and preserving it.
Another key theme of the story is the idea of identity. Brautigan writes about the ways in which our experiences with nature can shape our sense of self, and how these experiences can help us to understand who we are and what we value. He reflects on the ways in which our interactions with nature can help us to connect with our own inner selves, and to find meaning and purpose in our lives.
Throughout the story, Brautigan uses a variety of literary techniques to convey his ideas and themes. He employs vivid imagery and sensory descriptions to bring the natural world to life, and uses humor and irony to highlight the absurdity of human behavior. He also uses repetition and symbolism to reinforce his key ideas and to create a sense of unity and coherence throughout the story.
Overall, Part 3 of Trout Fishing in America is a powerful and thought-provoking story that explores some of the most fundamental questions of human existence. Through his experiences with trout fishing, Brautigan invites readers to reflect on the ways in which we interact with the natural world, and to consider the impact that these interactions can have on both ourselves and the environment around us. Whether you are a seasoned angler or simply someone who enjoys spending time in nature, this story is sure to resonate with you and leave you with a deeper appreciation for the beauty and complexity of the world around us.
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