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Open Boat

Navigating "The Open Boat": An Examination of Critical Approaches to the Work of Stephen Crane

Stephen Crane was something of an enigmatic figure to critics of his time, and has remained so in both the literary and historical scholars of subsequent decades and generations. This has made coming to a definitive interpretation of his works incredibly difficult, arguably more so than for other literary masters. It is, of course, a fools errand to embark on a quest for the one and only "true" interpretation of any work or body of literature, but Crane's uncertain place in the literary canon and the continued mystery of his inspiration, his intentions, and his biography have brought a multitude of disparate and often diametrically opposed theories and perspectives to bear on the author's works. Seen alternately as a progenitor of naturalism or of psychological realism, an impressionist, a literary genius or an over-hyped and over-wordy second-rate author, Stephen Crane remains a strong source of contention amongst the critics of the twentieth century.

One of Crane's most powerful short stories, and thus one of his most pivotal in terms of criticism, is "the open Boat," a story which was largely based on the author's own experience in a rowboat at sea following a shipwreck. His description of the relentlessness of the waves and of the effects of the circumstance on the men in the story show Crane at the height of both his descriptive and his perceptive abilities, but the exact purpose to which Crane is bending his talents still remains unclear. None of the singular explanations for the story's true stylistic inspiration and ultimate meaning hold up throughout the tale, but instead a comprehensive incorporation of these perspectives is the only way to do the author and the story justice.

Criticism for this story appeared almost as soon as Crane's volume of short stories, of which "The Open Boat" was the titular piece, was published in 1897. Some early criticisms were collected by Richard Weatherford, and even a cursory examination of some of Crane's critics reveals the vast disparity in the appreciation and understanding of his work. "The Open Boat" was hailed by some as the most important literary event of the time for its innovations in style -- the description of a violent and highly personified yet strangely unfeeling nature and the depth of the psychological insight create a strange balance of deep interpersonal connection and utter detachment -- and was recommended to those who did not expect too much from a writer who has been so unanimously praised as Mr. Crane" (Weatherford, 216-8). Far from simply disagreeing on quality, these critics couldn't even agree on content.

The idea that there is more substance to criticisms of Crane than to Crane's work itself has not completely dies, with some critics suggesting that he was trying to do with literature what impressionists did with painting and failed miserably at the task. Others, however, take this notion as an inspiring and daring achievement insofar as literary technique is concerned (Bender). This interpretation can certainly be seen in Crane's early description of the waves: "As each slaty wall of water approached, it shut all else from the view of the men in the boat, and it was not difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water" (Crane 728-9). Crane manages to impart both a detailed visual picture and an automatic emotionality to the environment, and this has been heralded by many as his greatest literary achievement.

Others, of course, disagree with this assessment of Crane's literary talents. While not disputing his skill in rendering a precise graphic scene with powerful emotive force, many scholars have rejected the simplistic view of Crane as a merely aesthetic innovator. He is considered by some to be a strong investigator into the realm of psychology, and both individual and group human motivations. One critic's reading of "The Open Boat" positions the story as a turning point in Crane's career, away from the isolation and interiority of The Red badge of Courage and towards a sense of the need of community and the inescapability of interpersonal bonding. Statements like "Four scowling men sat in the dingey" are taken by some to be indicators of the camaraderie that must necessarily form between any human beings caught together in such a situation (Crane 732; Shulman).

Still others take a far more personal approach to interpreting this story. Not only did Crane live through events almost exactly like those depicted in the story, but many of his stories are based on personal experiences. It is thus the psychological understanding that Crane brings to his stories that impart the majority of their meaning and value, according to some scholars (Starrett 407-8). Having been a war correspondent in the Spanish-American war and a traveling writer for various other reasons, Crane was exposed to a wide variety of experiences and ways of life, and this undoubtedly gave him a deep understanding of human nature. This element is what is hailed above all others by some critics as Crane's greatest achivement throughout his body of works. Others remind us, however, that while Stephen Crane was an excellent psychologist, he was also a true poet" (Shulman 405).