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A definitive new biography of James Fenimore Cooper, early nineteenth century master of American popular fiction American author James Fenimore Cooper (1789–1851) has been credited with inventing and popularizing a wide variety of genre fiction, including the Western, the spy novel, the high seas adventure tale, and the Revolutionary War romance. America’s first crusading novelist, Cooper reminds us that literature is not a cloistered art; rather, it ought to be intimately engaged with the world. In this second volume of his definitive biography, Wayne Franklin concentrates on the latter half of Cooper’s life, detailing a period of personal and political controversy, far-ranging international travel, and prolific literary creation. We hear of Cooper’s progressive views on race and slavery, his doubts about American expansionism, and his concern about the future prospects of the American Republic, while observing how his groundbreaking career management paved the way for later novelists to make a living through their writing. Franklin offers readers the most comprehensive portrait to date of this underappreciated American literary icon.
Although often overlooked today, James Fenimore Cooper's novels represent the very beginnings of American literature. Singlehandedly, the gentleman farmer from upstate New York created the American historical, spy, sea, frontier, science fiction, and courtroom novels. His books became both national and international bestsellers, were quickly translated into other languages, and impacted the development of the American publishing industry. This literary companion is a useful resource covering the major themes, characters, settings and more found in Cooper's works. It includes an overview of his fiction; a brief biography; a chronological list of his major publications; and topics for discussion, research, and study.
Dreaming Revolution usefully employs current critical theory to address how the European novel of class revolt was transformed into the American novel of imperial expansion. Bradfield shows that early American romantic fiction - including works by William Godwin, Charles Brockden Brown, James Fenimore Cooper, and Edgar Allan Poe - can and should be considered as part of a genre too often limited to the Nineteenth-century European novel. Beginning with Godwin's Caleb Williams, Bradfield describes the ways in which revolution legitimates itself as a means of establishing Political consensus. For European revolutionaries like Godwin or Rousseau, the tyranny of the king must be replaced by the more indisputable authority of human reason. In other words, democratic revolution makes people free to investigate the same truths and arrive at the same democratic conclusions. In the American novel, however, the Enlightenment's idealized pursuit of abstract truth becomes restructured as a pursuit of abstract space. Instead of revealing knowledge, Americans explore further territories, manifest destiny, limitless regions of the yet-to-be-colonized and the still-to-be-known. In a spirited discussion of works by Brown, Cooper and Poe, Bradfield argues that Americans take the class dynamics of the European psychological novel and apply them to the American landscape, reimagining psychological spaces as geographical ones. Class distinctions become refigured in terms of the common people's pursuit of a meaning vaster than themselves - a meaning which leads them to imagine the always expanding body of colonial America. However, since class conflict is never successfully eliminated or forgotten, the memory of class struggle always reemerges in the narrative like a half-repressed dream of politics. In Dreaming Revolution, Bradfield reveals and interprets these dreams, opening these American novels to a richer and more rewarding reading.
Jack Tar's Story examines the autobiographies and memoirs of antebellum American sailors to explore contested meanings of manhood and nationalism in the early republic. It is the first study to use various kinds of institutional sources, including crew lists, ships' logs, impressment records, to document the stories sailors told. It focuses on how mariner authors remembered/interpreted various events and experiences, including the War of 1812, the Haitian Revolution, South America's wars of independence, British impressment, flogging on the high seas, roistering, and religious conversion. This book straddles different fields of scholarship and suggests how their concerns intersect or resonate with each other: the history of print culture, the study of autobiographical writing, and the historiography of seafaring life and of masculinity in antebellum America.
Implementing a never-before-seen approach to sea literature, American Sea Literature: Seascapes, Beach Narratives, and Underwater Explorations explores the role of American maritime activities and their cultural representations in literature. Differentiating between the 'terrestrial' and 'oceanic' as concepts, Shin Yamashiro divides sea literature into three categories: literature on the sea, by the sea, and beneath the sea. Discussing both canonical works and new books on scuba diving, deep-sea explorations, and surfing, this fascinating study recognizes sea literature's unique influence on American history.
First published in 1988, this book aims to provide keys to the study of Gothicism in British and American literature. It gathers together much material that had not been cited in previous works of this kind and secondary works relevant to literary Gothicism — biographies, memoirs and graphic arts. Part one cites items pertaining to significant authors of Gothic works and part two consists of subject headings, offering information about broad topics that evolve from or that have been linked with Gothicism. Three indexes are also provided to expedite searches for the contents of the entries. This book will be of interest to students of literature.
This set comprises 40 volumes covering nineteenth and twentieth century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.
Although North America and Australasia occupy opposite ends of the earth, they have never been that far from each other conceptually. The United States and Australia both began as British colonies and mutual entanglements continue today, when contemporary cultures of globalization have brought them more closely into juxtaposition. Taking this transpacific kinship as his focus, Paul Giles presents a sweeping study that spans two continents and over three hundred years of literary history to consider the impact of Australia and New Zealand on the formation of U.S. literature. Early American writers such as Benjamin Franklin, Thomas Jefferson, Joel Barlow and Charles Brockden Brown found the idea of antipodes to be a creative resource, but also an alarming reminder of Great Britain's increasing sway in the Pacific. The southern seas served as inspiration for narratives by Washington Irving, Edgar Allan Poe, and Herman Melville. For African Americans such as Harriet Jacobs, Australia represented a haven from slavery during the gold rush era, while for E.D.E.N. Southworth its convict legacy offered an alternative perspective on the British class system. In the 1890s, Henry Adams and Mark Twain both came to Australasia to address questions of imperial rivalry and aesthetic topsy-turvyness. The second half of this study considers how Australia's political unification through Federation in 1901 significantly altered its relationship to the United States. New modes of transport and communication drew American visitors, including novelist Jack London. At the same time, Americans associated Australia and New Zealand with various kinds of utopian social reform, particularly in relation to gender politics, a theme Giles explores in William Dean Howells, Charlotte Perkins Gilman, and Miles Franklin. He also considers how American modernism in New York was inflected by the Australasian perspectives of Lola Ridge and Christina Stead, and how Australian modernism was in turn shaped by American styles of iconoclasm. After World War II, Giles examines how the poetry of Karl Shapiro, Louis Simpson, Yusef Komunyakaa, and others was influenced by their direct experience of Australia. He then shifts to post-1945 fiction, where the focus extends from Irish-American cultural politics (Raymond Chandler, Thomas Keneally) to the paradoxes of exile (Shirley Hazzard, Peter Carey) and the structural inversions of postmodernism and posthumanism (Salman Rushdie, Donna Haraway). Ranging from figures like John Ledyard to John Ashbery, from Emily Dickinson to Patricia Piccinini and J. M. Coetzee, Antipodean America is a truly epic work of transnational literary history.