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Reprint of the original, first published in 1882.
Series title also at head of t.p.
Barbara L. Packer's long essay "The Transcendentalists" is widely acknowledged by scholars of nineteenth-century American literary history as the best-written, most comprehensive treatment to date of Transcendentalism. Previously existing only as part of a volume in the magisterial Cambridge History of American Literature, it will now be available for the first time in a stand-alone edition. Packer presents Transcendentalism as a living movement, evolving out of such origins as New England Unitarianism and finding early inspiration in European Romanticism. Transcendentalism changed religious beliefs, philosophical ideas, literary styles, and political allegiances. In addition, it was a social movement whose members collaborated on projects and formed close personal ties. Transcendentalism contains vigorous thought and expression throughout, says Packer; only a study of the entire movement can explain its continuing sway over American thought. Through fresh readings of both the essential Transcendentalist texts and the best current scholarship, Packer conveys the movement's genuine expectations that its radical spirituality not only would lead to personal perfection but also would inspire solutions to such national problems as slavery and disfranchisement. Here is Transcendentalism in whole, with Emerson, Thoreau, and Fuller restored to their place alongside such contemporaries as Bronson Alcott, George Ripley, Jones Very, Theodore Parker, James Freeman Clarke, Orestes Brownson, and Frederick Henry Hedge.
The philosophy explained in terms of selections from the writings of the chief adherents.
"Ripley is an unmistakable descendant of Gatsby, that 'penniless young man without a past' who will stop at nothing."—Frank Rich Now part of American film and literary lore, Tom Ripley, "a bisexual psychopath and art forger who murders without remorse when his comforts are threatened" (New York Times Book Review), was Patricia Highsmith's favorite creation. In these volumes, we find Ripley ensconced on a French estate with a wealthy wife, a world-class art collection, and a past to hide. In Ripley Under Ground (1970), an art forgery goes awry and Ripley is threatened with exposure; in The Boy Who Followed Ripley (1980), Highsmith explores Ripley's bizarrely paternal relationship with a troubled young runaway, whose abduction draws them into Berlin's seamy underworld; and in Ripley Under Water (1991), Ripley is confronted by a snooping American couple obsessed with the disappearance of an art collector who visited Ripley years before. More than any other American literary character, Ripley provides "a lens to peer into the sinister machinations of human behavior" (John Freeman, Pittsburgh Gazette).