So what is the Western Literary Canon – the Canon Gardner refers to in his book? What does that term mean? Originally, the “canon” referred to the books of the bible sanctioned by the Church. Now, however, it’s a collection of curated texts, what many call “The Classics,” sanctioned by those who have the power to decide what represents “us,” our culture, traditions, and values (aka, what students read in school). Essentially, The (Western) Canon is a set of literature, art, and music, agreed upon by scholars and tradition, deemed “classics.” 

Think of the canon as a kind of literary mix tape bestowed upon the masses. The problem: the “canon” has traditionally been made up of white men, because white men have traditionally been the ones in power. (Even today, women, people of color, the LGBTQ community, or and other marginalized groups are commonly excluded, denied, or flat out erased. Here’s looking at you NY Times Books). Prior to the 19th Century, Europe/England had curated that tradition. Given America was a colony of England, the colonists brought that canon with them. As America produced its own literary works, England and Europe discounted many notable American authors, claiming they didn’t really have a tradition; therefore, they would be excluded from the literary canon–deemed unworthy, essentially.

But then there was Edgar Allen Poe. Many poets we consider household literary names now were once discounted because they were American. Walt Whitman and Emily Dickinson weren’t yet considered “worthy” enough for European scholars because, well, Americans weren’t considered to have a culture. But then Edgar Allen Poe wielded the techniques of the European masters so well he could not be ignored. American authors were breaking the literary mold (see Walt Whitman’s free verse style) and gaining popularity with audiences in Europe, with or without the blessing of European scholars. Eventually, American literature was given a place at the “tradition” table.