Annie Dillard, a practitioner of the literary epiphany, has become a representative of a neoromantic movement that combines the ecological interest of wilderness literature with the aesthetics of a highly stylized literature. This study of the Pulitzer prize-winning essayist considers her as wilderness philosopher, critic, and arch-romantic. Sandra Humble Johnson moves Dillard from the category of nature writer to the area of aesthetics as she examines the importance of literary epiphany - a distinctive type of
illumination
- to her work. She then explores how Dillard, through her own peculiar use of language, describes and creates these moments of illumination, or
dots
of self, for the reader. Johnson also reveals Dillard’s relationship with other writers who practiced this same literary device: William Wordsworth in his
spots of time , T.S. Eliot and his
still points , and Gerard Manley Hopkins through his
inscape . In addition, Johnson shows how the reader experiences a similar yet personal epiphany in sharing the writer’s moment of illumination, and further interprets how Dillard’s absorption with pain, violence, and beauty is resolved in the nature of language itself.