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Recollections of the Past: From Pioneer Naturalist into Mountaineer Buddhist (Thoreau and Kerouac) An old adage states "not to allow the truth get in the way of a good story". However, where is the line drawn between embellishment and fabrication? Artistic privilege is just as it seems; a freedom to control and coerce verbs, adjectives, adverbs, and other parts of language and sentence structure to yield a much more pleasing story. Just like any privilege there comes accountability, in this scenario, a responsibility to not alter the original intent of the story or the context in which it took place. In "Walden, Or Life in the Woods" (1995), by Henry David Thoreau, he takes a very analytical approach for his recollections of their past. Through the use of vibrant descriptions, he also paints a vivid account of the encompassing scene without a detectable embellishment when providing an extremely accurate report of his experience. "But while we're confined to books, although the pick and classic, and read only particular written languages, that are themselves but dialects and provincial, we are in danger of forgetting the language which all things and events speak without metaphor, which alone is copious and standard." (Thoreau 72) In this outline of sound, the level of scholarly, vibrant language is obviously evident. Assessing Thoreau to his modern counterpart Jack Kerouac, at "The Dharma Bums" (1958), Kerouac writes with far less brilliant language but provides more detail on personal opinion and emotion. "Far away, only the sound of the yards where they had been hanging out cuts of cars having a excellent splowm waking up all El Paso, but me." (Kerouac 154) Kerouac is nevertheless descriptive, however is not as academic in his word cho...