“Deconstruction urges us to read between the lines of the map—’in the margins of the text’—and through its tropes to discover the silences and contradictions that challenge the apparent honesty of the image” (3). We have had many class discussions where we discuss different trends of representation and how its consumption becomes concrete in the belief systems of those consuming. In other words, if an artist paints a scene of Maine lobstering, but it is done in a studio with props, it is clearly embodying a level of artifice. However, when this painting/piece of art is put out into the world, those viewing the painting have no way of detecting this artifice. This portrayal of lobstering is believed to be a realistic representation of what lobstering actually is, even though this is a false notion. J.B. Harley’s point in his piece “Deconstructing the Map” is that this idea is especially relevant with the creation of maps. Harley’s postmodern view exposes the influence of power, and more importantly, knowledge over the creation of maps. Harley references Foucault: “the key revelation has been the omnipresence of power in all knowledge, even though that power is invisible or implied, including the particular knowledge encoded in maps and atlases” (3). Western cartography has falsely affirmed objection, reality, truth and accuracy with the creation of maps. When looking at the maps provided for this class, I am led to ask certain questions that would go deeper than the surface of this map. Who was given the privilege of making the map of downtown Camden, and why were they chosen over others? Why is it that certain parts of this map are included over others? What cultural entities are excluded from this map and why? This reading leads one to dig deeper when thinking about the stories we tell ourselves about ourselves. Maps are much more than a means to figure out where one is going.