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Here are the best of Hawthorne's short stories. There are twenty-four of them -- not only the most familiar, but also many that are virtually unknown to the average reader. The selection was made by Professor Newton Arvin of Smith College, a recognized authority on Hawthorne and a distinguished literary critic as well. His fine introduction admirably interprets Hawthorne's mind and art.
Contains a collection of reviews and critical essays on The scarlet letter.
Includes criticism of "Roger Malvin's burial," "The artist of the beautiful," "The custom house," "The scarlet letter," "The house of the seven gables," "The Blithedale romance," and "The marble faun."
This book examines in detail some of Hawthorne's most important and most beloved stories.
One of the first American short story writers, Nathaniel Hawthorne is also among the finest. A sampling of his stories reads like an anthology of great literature: My Kinsman, Major Molineux; The Celestial Railroad; The Minister's Black Veil; The Maypole of Merry Mount; The Birthmark. Common to all Hawthorne's work is an intellectual, emotional, and psychological richness that may well remain unparalleled in fiction today. Indeed, as scholars learn more about history, literature, sociology, and psychology, the more they unlock secrets in Hawthorne's work. Few writers, of any generation, genre, or language have shared - or even approached - Hawthorne's lucid vision of the mind's hidden landscape. More remarkable, perhaps, was the compassion he felt for his subjects, while exploring their sin, guilt, cruelty, and arrogance. Human beings, he felt, can afford to face their flaws because they have the capacity to grow beyond them. Even his peers acknowledged his place in literary history: D. H. Lawrence called Hawthorne "the American wonder-child with his magical, allegorical insight"; Henry James wrote an entire book of criticism about him; and Herman Melville, in deference to Hawthorne's "great power of blackness", dedicated Moby Dick to his friend and neighbor. Nancy Bunge investigates the whole of Hawthorne's short fiction canon, including a number of the less celebrated stories. Her specific and detailed analyses include fresh commentaries on Hawthorne's lush and demanding fiction, including observations afforded by the moral, social, and historical interpretations of the stories. Many of her theories are not found in the extant body of criticism, and still others take the generalpatterns of critical interpretation to new levels. Bunge's thorough inspection also sheds light on the relation of the fiction to Hawthorne's own biography, including his Puritan roots.
Handsome, reserved, almost frighteningly aloof until he was approached, then playful, cordial, Nathaniel Hawthorne was as mercurial and double-edged as his writing. “Deep as Dante,” Herman Melville said. Hawthorne himself declared that he was not “one of those supremely hospitable people who serve up their own hearts, delicately fried, with brain sauce, as a tidbit” for the public. Yet those who knew him best often took the opposite position. “He always puts himself in his books,” said his sister-in-law Mary Mann, “he cannot help it.” His life, like his work, was extraordinary, a play of light and shadow. In this major new biography of Hawthorne, the first in more than a decade, Brenda Wineapple, acclaimed biographer of Janet Flanner and Gertrude and Leo Stein (“Luminous”–Richard Howard), brings him brilliantly alive: an exquisite writer who shoveled dung in an attempt to found a new utopia at Brook Farm and then excoriated the community (or his attraction to it) in caustic satire; the confidant of Franklin Pierce, fourteenth president of the United States and arguably one of its worst; friend to Emerson and Thoreau and Melville who, unlike them, made fun of Abraham Lincoln and who, also unlike them, wrote compellingly of women, deeply identifying with them–he was the first major American writer to create erotic female characters. Those vibrant, independent women continue to haunt the imagination, although Hawthorne often punishes, humiliates, or kills them, as if exorcising that which enthralls. Here is the man rooted in Salem, Massachusetts, of an old pre-Revolutionary family, reared partly in the wilds of western Maine, then schooled along with Longfellow at Bowdoin College. Here are his idyllic marriage to the youngest and prettiest of the Peabody sisters and his longtime friendships, including with Margaret Fuller, the notorious feminist writer and intellectual. Here too is Hawthorne at the end of his days, revered as a genius, but considered as well to be an embarrassing puzzle by the Boston intelligentsia, isolated by fiercely held political loyalties that placed him against the Civil War and the currents of his time. Brenda Wineapple navigates the high tides and chill undercurrents of Hawthorne’s fascinating life and work with clarity, nuance, and insight. The novels and tales, the incidental writings, travel notes and children’s books, letters and diaries reverberate in this biography, which both charts and protects the dark unknowable core that is quintessentially Hawthorne. In him, the quest of his generation for an authentically American voice bears disquieting fruit.
A recurrent idea in Darrel Abel's criticism of the works of Hawthorne gives this volume its title. The idea of a fallen world and its potential for partial redemption through art and the art of criticism is a theme that weaves in and out of the sixteen essays. The volume as a whole displays an explicit and implicit concern with critical approaches and reflects an awareness of the fictiveness of critical resolutions in a world in which boundaries are constantly under challenge, for example, those which divide "textuality" from "contextuality." This collection of essays explores the problems the practical critic and teacher has had to face in the shifts in taste, assumptions, and methodology in the moves from moral and historical criticism to the "New Criticism," and to the newer linguistic and semiotic criticism.
A major reassessment of Hawthorne. The great novels are re-evaluated, as are the stories, and attention is paid to Hawthorne's use of the American past, of Nature, and to his understanding of the newly emerging American history and culture and his place within the context of European literature.