Writings of James Fenimore Cooper – serie

In the summer of 1828 James Fenimore Cooper, his wife, and their five children set out from Paris for Switzerland, and Cooper wrote that he experienced a "glorious anticipation," for "a common-place converse with men was about to give place to a sublime communion with Nature."Sketches of Switzerland, the book which describes this experience and which is republished here for the first time in the United States since its original issue in 1836, was the first of five European travel books written, Cooper said, "for my own Countrymen," in which the American novelist gave "rapid sketches" of what he saw "with American eyes," studiously avoiding the drab, factual accounts of ordinary tourists.His indispensable resources in the composition of Switzerland were his gifts of total recall and his skill in writing prose pictures in the style then known as "picturesque." Seeking an immediacy analogous to that of the artist's brush, Cooper captures various elements of "picturesque" style, especially the incongruity between the sublime, terrifying scenery and the more familiar sights and associations of domestic life.Even in the creation of verbal pictures, Cooper could not resist expressing his concerns with society and politics; and though his criticism seems harmless enough today-perhaps even salutary-it was disturbing to American readers less secure than Cooper in their confidence in their institutions and society. Partly, at least, for this reason, Cooper's most successful nonfictional experiment in the "picturesque" mode has never been adequately appreciated.

Written in 1821-22 at a crucial point in Cooper's life and based on some of his most cherished youthful memories, The Pioneers today evokes the American pioneering experience with astonishing vibrance of authentic detail and a largeness of philosophic grasp seldom if ever equaled in our fiction.The circumstances behind the composition and publication of the book are here explained for the first time; and the text, originally set without competent supervision in the midst of the yellow fever epidemic in New York in 1822, is presented with the cumulative improvements of Cooper's "strenuous pen" in five subsequent revisions, without the customary accumulation of compositorial errors.Quite possibly America's first bestseller (3,500 copies were sold within hours of publication), The Pioneers became the first of the world-famous Leatherstocking Tales. Its verbal pictures "excited a sensation among the artists, altogether unprecedented in the history of our domestic literature" and helped establish the style of the Hudson River School, our first group of landscape painters. Translated early into all the major languages of Europe, The Pioneers was one of the first American novels to carry distinctive, authoritative American experience to the world.

A contemporaneous reviewer called James Fenimore Cooper's England "unquestionably the most searching and thoughtful, not TO say philosophical of any" of the books "published by an American on England." Another cited with approval the "potent causticity" with which a fellow reviewer "develope[d] the gangrene of the author's mind in its most foul and diseased state."Such were the extremes of response elicited by publication in 1837 of the fourth and most controversial book in Cooper's travel series, Gleanings in Europe. Partly because of his ambivalence for most things British, England is perhaps the most fascinating of the travel volumes to the modern reader. Probably no American of his time was received more hospitably by the British upper classes, nor did any reciprocate with shrewder or more scalding criticism.Cooper himself thought well of his book, taking some delight in the stir it made in London and expecting it to do much good at home. The modern reader will be delighted by his novelist's eye for the revealing scene or detail and by the multidimensional perspective he provides on British-American cultural conflicts of the 1820s and 1830s.

Describing Italy as "the only region of the earth that I truly love," James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire "to enjoy the passing moment."In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

"One of the misfortunes of a nation, is to hear little besides its own praises," wrote James Fenimore Cooper in his Preface to Wyandotté in 1843. The novel arrived at a time when a patriotic mythology about the American Revolution was developing, and Cooper's somber tale of the sufferings of an isolated family in upstate New York during the Revolution was not congruent with the celebratory stories then being told. One reviewer indeed objected to Cooper's "cynicism which hunts after cracks and crevices and unshapely stones in the altar of our political devotion."In its critical trenchancy, somber tone, and subdued action, Wyandotté is representative of the strongest novels of Cooper's last decade. The elements of romance that are prominent in his fiction of the 1820s here give way to a new emphasis upon characterization and a new interest in familial life. As Edgar Allen Poe observed, in Maud Meredith Cooper creates his most spirited heroine, and in Saucy Nick, his most credible Indian."Nothing is truly patriotic," Cooper warns us in his Preface, "that is not strictly true and just." In his last tale of the Revolution, he leaves national self-congratulation to the orators and newspaper editors and hews to his own demanding conception of devotion to his country.

In the spring of 1826, soon after the publication of The Last of the Mohicans, James Fenimore Cooper immersed himself in The Prairie. In taking Natty Bumppo from his beloved forests of New York state to the Great American Plains, Cooper was in part fulfilling his own prophecy at the end of The Pioneers. Though he was certainly recalling the periodic westward removals of Daniel Boone, one of the prototypes of Natty Bumppo, he was also responding to the ever-increasing public interest in Jefferson's Louisiana Purchase.No characterization more clearly exhibits the firmness of Cooper's vision than that of Natty Bumppo. As his colossal entrance implies, Cooper has reconceived him, and through him, the world in which he moves. Though descended from the garrulous hunter of The Pioneers and reduced to the lowly occupation of a trapper, his moral stature has undergone an apotheosis. Though he is again in The Prairie the loyal guide he was in The Last of the Mohicans, his words here take on even more striking moral force. He is both the spokesman for and the representation of, the most basic rhythm of existence, the natural cycle of life which must end in death.The metaphor of the prairie as the sea, shaped by Cooper's meditation on the relationships between Nature, God, and Man, seems to have had a fertile hold on his imagination. The sea is, as he knew by personal experience, a place of isolation and emptiness on whose surface man lives a precarious life. Imagistically Cooper's plot sets his little bands-the groups of outcasts led by Natty, Ishmael's family, the Sioux, and the Pawnees-to converge and tack away from each other. There is also much in the bursts of action-escapes, captures, shifting alliances, steering by moonlight-that evokes sea life. This same metaphor also points us to a central theme of The Prairie. Beyond the fast-paced action, the novel becomes a meditation on the ways of establishing justice between men.

Gleanings in Europe: The Rhine is an account of James Fenimore Cooper's travels in Europe at the time of the 1832 revolt in Paris, when he hoped General Lafayette would be declared President of France and when all of Europe was the stage for the morality play of French politics.Published in 1836 after General Lafayette's death, the book is, in part, an apologia for Lafayette, Cooper's ideal political man. Thus it is essential reading for understanding the development of Cooper's political ideas and his ideas about the nature of American culture.In The Rhine, Cooper deepens his skill at picturesque description of landscape and extends the range of the picturesque to include cityscapes. The complex relations between visual objectives and ideas reverberates throughout the book, whether Cooper is commenting on the public gardens of Heidelburg, a private Alpine landscape, or, especially, the garden at Lafayette's home.With American landscapes and politics always in the background for comparison, Cooper surveys the order of life in Europe and asks for a more liberal and humane political order in Europe and a more human and cultivated social order in America.

Though Satanstoe has been too much neglected by readers of Cooper's time and ours, it is one of his most interesting books, combining nostalgic autobiographical recollections, pictures of manners, action and adventure, and social philosophy in one of the author's happiest experiments in fiction. Ostensibly, it gives a comprehensive view of colonial life and society in New York State in the middle of the eighteenth century, blending all these elements with the narrative skill for which the author has always been famous.

A thrilling novel of seafaring adventure, romance, and Napoleonic history, from the author of The Leatherstocking Tales.In 1842, James Fenimore Cooper returned to transatlantic themes with a thrilling historical novel set in the Mediterranean Sea, weaving together a characteristically exciting narrative of naval pursuit with a story of lovers separated by religious differences. As the novel unfolds, warships under the command of the recently ennobled Lord Nelson are thwarted in their attempt to capture the French privateer Raoul Yvard and his graceful lugger Le Feu-Follet, while Yvard himself is frustrated because the Italian girl he loves, loyal to the Church, refuses to marry a French deist. Cooper also worked into his story one of his most colorful Yankee characters, Ithuel Bolt, an impressed seaman who combines courage and righteousness with bitterness and greedy self-interest.What sets The Wing-And-Wing apart from Cooper's other maritime adventures is the setting: most of the action occurs in the genial Italian waters of the Bay of Naples and Gulf of Salerno, locations Cooper had visited in 1829–30 and later recalled as "the only region of the earth that I truly love." He combined the struggle for naval dominance just beginning between France and England with historical events occurring in the Kingdom of Naples, especially the role reluctantly played by Nelson, pressured by his lover Lady Hamilton, in the execution of the Neapolitan hero Admiral Caraccioli.The editors provide a historical introduction identifying Cooper's Italian sources as well as detailed explanatory notes to enable readers fully to appreciate the geographical and historical settings in the novel. This scholarly edition, the twenty-seventh in the Writings of James Fenimore Cooper, presents an accurate text drawing upon both the first edition and a lightly revised authorial text from 1850. The editors provide a full scholarly apparatus discussing their editorial choices, and the edition has been approved by scholarly peers in the Committee for Scholarly Editions of the Modern Language Association.

An exciting Revolutionary War tale of double agents and counterespionage in New York State in 1780.A year after his imitative first novel Precaution (1820) enjoyed only modest success, James Fenimore Cooper penned The Spy: A Tale of the Neutral Ground, a Revolutionary War narrative initiating the American historical romance, a novel and a genre that quickly put to rest the British critic Sydney Smith's 1820 quip, "In the four corners of the globe, who reads an American novel?" Beginning with The Spy, everyone did. The novel excited readers with the perilous adventures of the spy (Harvey Birch, the Yankee peddler) and his contact Mr. Harper (George Washington appearing incognito), both surfacing repeatedly in various disguises and engaged in counterespionage (very clearly a parallel to the John Andre and Benedict Arnold stories) with their guerilla nemeses, the loyalist Cow-Boys and renegade Skinners. The Spy revealed the clash of loyalties within families between public and private duty to country and to self, and served as a microcosm of the new American world, staged in the "neutral ground" between opposing forces in Westchester, New York.William Gilmore Simms, Cooper's admirer and imitator, declared "The publication of The Spy … was an event," while Boston's North American Review agreed, "the American Revolution is an admirable basis, on which to found fictions of the highest order of romantic interest." This fresh tale generated good American press for the young Cooper, and so set the stage for Cooper's career-long contributions to the development of the American novel.The editors provide a historical introduction identifying Cooper's sources, as well as detailed explanatory notes to enable readers fully to appreciate the geographical and historical settings in the novel. This scholarly edition, the eighteenth in "The Writings of James Fenimore Cooper," presents an accurate text drawing upon eight texts, from the first edition (with two editorially revised reprintings soon following to satisfy public demand) through the heavily revised Bentley Standard Novels edition (1831) and the more lightly revised Putnam Author's edition (1849). The editors provide a full scholarly apparatus discussing their editorial choices, and the edition has been approved by scholarly peers in the Committee for Scholarly Editions of the Modern Language Association.

Cooper's The Chainbearer presents an exciting narrative that interrogates issues of what it means to own land. The novel examines the claims of ownership of wilderness land among Native Americans, New England squatters, and the old New York families with legal deeds.In 1845 and 1846, James Fenimore Cooper published The Littlepage Manuscripts, a trilogy reflecting on the anti-rent movement among small farmers leasing parcels in the Hudson Valley who had begun protesting against the land ownership of the old Dutch patroons. Tracing four generations of the landowners, the trilogy focused on fundamental issues of what land ownership meant under the US Constitution-which Cooper understood to guarantee absolute rights of property ownership-and also the legitimacy of such ownership of land taken from the Native Americans who did not hold such doctrines.Cooper told his British publisher that the guiding theme of The Chainbearer (1845), the second novel in the series, was "Revolution," which he presented by beginning the novel with recounting the heroic participation of his hero, Mordaunt Littlepage, in the American Revolution. In 1784, to manage his family's holdings, Mordaunt ventures into the wilds of upper New York, where settlers, many from New England, hoped the Revolution had dissolved their "feudal" commitments to the legal owners. There he encounters one of Cooper's archetypal demagogues, Jason Newcome, who manipulates the settlers to his advantage, as well as an old family friend, Susquesus, the "upright Onondago," who challenges Mordaunt to justify what it means to claim private ownership of land his people held in common. The plot culminates with characteristic flee-and-capture excitement when a lawless squatter, Aaron "Thousandacres," imprisons the hero, who is ultimately freed through the agency of his faithful Dutch surveyor, Andries Coejemans, the "Chainbearer," and his beautiful niece Ursula, whom Mordant ultimately marries-despite her lower-class heritage.The editors have prepared this scholarly edition from the extant manuscript at the American Antiquarian Society. They provide detailed accounts of the genesis of the novel and of their editorial procedures. This edition also contains explanatory notes for the historical references, as well as an essay on the history of the anti-rent movement by John P. McWilliams.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

An exciting tale of nautical adventure on the waters of colonial New York Harbor.Chiefly set on the waters and islands of New York Harbor in the early years of the 1700s, James Fenimore Cooper's novel The Water-Witch (1830) paints a vivid picture of life in the little colonial port. It was familiar territory for Cooper, who a century later had served as a junior officer on board an eighteen-gun sloop-of-war stationed at the Brooklyn Navy Yard. That experience acquainted him with the navigational intricacies and dangers with which his characters must deal as they carry out the central action of the novel, the repeated attempts by a British naval cruiser to capture the brigantine commanded by a notorious smuggler known as the Skimmer of the Seas. As in all of Cooper's nautical novels, the scenes of ship-handling and naval combat in The Water-Witch are rendered with absolute authenticity, but here he envelops them in a cloud of mystery and magic that is dispersed only in the chaotic climax of the book. This scholarly edition includes an informative historical introduction and thorough explanatory notes. It also serves as an example of the processes by which an authoritative text is established.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

A novel of manners set in the drawing rooms, ballrooms, and Wall Street offices in 1830s New York, dramatizing conflicts that we are still grappling with nearly two hundred years later.Within months of publishing Homeward Bound, James Fenimore Cooper continued that story in a second, stand-alone novel, Home as Found. One of the most important of his long career, Home as Found is a novel of manners in which Cooper satirized Wall Street speculation, jingoism, the penny press, and high society, writing boisterously and with a sharp but critical eye about a nation in transition. He revealed "follies and peculiarities" of the young nation, but did so with a hope that the advancing forces of democracy would not get turned aside by greed and insular nationalism. In drawing rooms, ballrooms, and Wall Street offices, Cooper sees clearly into the heart of the democratic experiment, dramatizing conflicts that we are still grappling with nearly two hundred years later. Stephen Carl Arch provides a historical introduction discussing Cooper's composition of the novel and its politicized reception in journals and newspapers, along with detailed explanatory notes. This authoritative edition draws upon the first edition, a partial author's manuscript, and a substantial (but not complete) amanuensis copy of the author's manuscript; and provides a full scholarly apparatus discussing the editorial choices. It has been approved by the Committee on Scholarly Editions of the Modern Language Association.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

A novel of manners set in the drawing rooms, ballrooms, and Wall Street offices in 1830s New York, dramatizing conflicts that we are still grappling with nearly two hundred years later.Within months of publishing Homeward Bound, James Fenimore Cooper continued that story in a second, stand-alone novel, Home as Found. One of the most important of his long career, Home as Found is a novel of manners in which Cooper satirized Wall Street speculation, jingoism, the penny press, and high society, writing boisterously and with a sharp but critical eye about a nation in transition. He revealed "follies and peculiarities" of the young nation, but did so with a hope that the advancing forces of democracy would not get turned aside by greed and insular nationalism. In drawing rooms, ballrooms, and Wall Street offices, Cooper sees clearly into the heart of the democratic experiment, dramatizing conflicts that we are still grappling with nearly two hundred years later. Stephen Carl Arch provides a historical introduction discussing Cooper's composition of the novel and its politicized reception in journals and newspapers, along with detailed explanatory notes. This authoritative edition draws upon the first edition, a partial author's manuscript, and a substantial (but not complete) amanuensis copy of the author's manuscript; and provides a full scholarly apparatus discussing the editorial choices. It has been approved by the Committee on Scholarly Editions of the Modern Language Association.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

An exciting adventure tale of sealers caught in the Antarctic ice in the early nineteenth century and forced to winter over in extreme conditions.The Sea Lions (1849) is the twelfth and last of Cooper's sea novels, a genre he largely invented. Drawing upon memories from nearly three decades earlier of his own ventures in whaling and his reviews of accounts of exploring and hunting in cold seas, Cooper fashioned an exciting tale of two small vessels capturing seals near the Antarctic Circle. When the sealers are trapped by the ice and forced to winter over in extreme conditions, Cooper's hero undergoes a spiritual transformation amidst the sublime threat of hostile Nature. The editors argue that this transformation parallels Cooper's gradual shift from a religion of Nature to his embracing Trinitarian Christianity. In expanding the scope of his sea fiction to embrace spiritual questions, Cooper anticipates Melville, who reviewed the novel favorably. This scholarly edition, the thirtieth in The Writings of James Fenimore Cooper series, presents an accurate text that draws upon both the American first edition and the British first edition, for which the editors have determined Cooper provided some revisions not found in his American text. The edition provides extensive historical, cultural, and geographic explanatory notes. The editors also provide a full scholarly apparatus discussing their editorial choices, and the edition has been approved by scholarly peers in the Committee for Scholarly Editions of the Modern Language Association.

An exciting adventure tale of sealers caught in the Antarctic ice in the early nineteenth century and forced to winter over in extreme conditions.The Sea Lions (1849) is the twelfth and last of Cooper's sea novels, a genre he largely invented. Drawing upon memories from nearly three decades earlier of his own ventures in whaling and his reviews of accounts of exploring and hunting in cold seas, Cooper fashioned an exciting tale of two small vessels capturing seals near the Antarctic Circle. When the sealers are trapped by the ice and forced to winter over in extreme conditions, Cooper's hero undergoes a spiritual transformation amidst the sublime threat of hostile Nature. The editors argue that this transformation parallels Cooper's gradual shift from a religion of Nature to his embracing Trinitarian Christianity. In expanding the scope of his sea fiction to embrace spiritual questions, Cooper anticipates Melville, who reviewed the novel favorably. This scholarly edition, the thirtieth in The Writings of James Fenimore Cooper series, presents an accurate text that draws upon both the American first edition and the British first edition, for which the editors have determined Cooper provided some revisions not found in his American text. The edition provides extensive historical, cultural, and geographic explanatory notes. The editors also provide a full scholarly apparatus discussing their editorial choices, and the edition has been approved by scholarly peers in the Committee for Scholarly Editions of the Modern Language Association.

A novel of early eighteenth-century Venice that Cooper called "in spirit, the most American book I ever wrote."The Bravo (1831) takes place in early eighteenth-century Venice, when the "Serene Republic" had lost much of its glory, leaving its oligarchs struggling to hold on to their family wealth by manipulating the government and people through secret councils and a figure-head doge. In 1844, Cooper called it "in spirit, the most American book I ever wrote" because of its depiction of the masses duped by demagoguery and the attempts of Congress to rein in President Jackson, who Cooper saw as representing the popular will. In the novel, the low-born hero, Jacopo Frontoni, is forced to become an agent of the state because his unjustly imprisoned father languishes in the infamous state prison. On the last page, Jacopo is executed as a scapegoat for the crimes attributed to him of which he is innocent, rendering his beloved insane. Only in a subplot does a noble couple escape Venice to enjoy marriage.The present text is based on all extant manuscript witnesses (including a lengthy deleted section) and offers extensive explanatory notes.

Cooper's 1846 novel about the Anti-Rent Wars in upstate New York, now available in a scholarly edition.The Redskins, James Fenimore Cooper's 1846 novel about the Anti-Rent Wars in upstate New York, is now available in a scholarly edition. The final work in the "Littlepage trilogy," The Redskins includes Cooper's enduring theme of Indigenous-White relations but examines it in the context of contemporary tensions between wealthy landlords and their tenant farmers in the Hudson Valley region. The work is narrated in the voice of a privileged landowner who presents an impassioned defense of the aristocratic class in America and thus raises cardinal questions regarding Cooper's own intentions and authorial control. Cooper himself was often derided as an "aristocrat" in this later phase of his career, and the novel can be read as both an endorsement of and a rebuttal to that judgment. Edited by Hugh Egan, this volume includes extensive historical background material as well as pertinent textual notes based on the original manuscript. As part of the series in the Writings of James Fenimore Cooper, this MLA-approved edition of The Redskins will serve as the definitive text for future teachers and scholars alike.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

Cooper's 1846 novel about the Anti-Rent Wars in upstate New York, now available in a scholarly edition.The Redskins, James Fenimore Cooper's 1846 novel about the Anti-Rent Wars in upstate New York, is now available in a scholarly edition. The final work in the "Littlepage trilogy," The Redskins includes Cooper's enduring theme of Indigenous-White relations but examines it in the context of contemporary tensions between wealthy landlords and their tenant farmers in the Hudson Valley region. The work is narrated in the voice of a privileged landowner who presents an impassioned defense of the aristocratic class in America and thus raises cardinal questions regarding Cooper's own intentions and authorial control. Cooper himself was often derided as an "aristocrat" in this later phase of his career, and the novel can be read as both an endorsement of and a rebuttal to that judgment. Edited by Hugh Egan, this volume includes extensive historical background material as well as pertinent textual notes based on the original manuscript. As part of the series in the Writings of James Fenimore Cooper, this MLA-approved edition of The Redskins will serve as the definitive text for future teachers and scholars alike.The Writings of James Fenimore Cooper The distinguished Cooper scholar James Franklin Beard (1919–1989) began organizing the Writings of James Fenimore Cooper in the late 1960s, as his work on publishing the monumental Letters and Journals of James Fenimore Cooper came to fulfillment. Beard's intention was to provide readers with sound scholarly editions of Cooper's major works, based wherever possible on authorial manuscripts. To date, the Writings of James Fenimore Cooper has made available texts of many of Cooper's best-known novels, as well as some of his most important works of political and social commentary.

Turning to his own extensive maritime experience, Cooper's novel, written in Paris in 1827, reflects his immersion in the romantic movement that was sweeping the Continent. European readers enjoyed his poetic and imaginative portrayal of the sea, while American readers were interested in how he depicted the early stirrings of nationalism in the New World decades prior to the Revolution.Cooper's striking association of the sublime power of nature with the rebellious spirit of his pirate-hero established and defined the sea novel as a literary genre. By far the most influential of his maritime tales, The Red Rover was read and admired by Goethe and Berlioz, Melville and Conrad.This edition, the first to be based on Cooper's original manuscript, offers the modern reader a major document of romanticism and a compelling narrative of adventure at sea.

Turning to his own extensive maritime experience, Cooper's novel, written in Paris in 1827, reflects his immersion in the romantic movement that was sweeping the Continent. European readers enjoyed his poetic and imaginative portrayal of the sea, while American readers were interested in how he depicted the early stirrings of nationalism in the New World decades prior to the Revolution.Cooper's striking association of the sublime power of nature with the rebellious spirit of his pirate-hero established and defined the sea novel as a literary genre. By far the most influential of his maritime tales, The Red Rover was read and admired by Goethe and Berlioz, Melville and Conrad.This edition, the first to be based on Cooper's original manuscript, offers the modern reader a major document of romanticism and a compelling narrative of adventure at sea.

Notions of the Americans in considered Cooper's first work of non-fiction despite a thin overlay of character and plot. Written in the form of a travel narrative, it addresses the widespread ignorance he encountered in Europe about the people and institutions of the United States. It is an exuberant chant of praise for American representative democracy, encapsulating the utopian vision that compelled Cooper's writing career over three decades.The introduction draws on materials never before published. this edition, distinguished by the seal of the Center for Scholarly Editions, is the first resetting of the text since the initial American edition in 1828.

Notions of the Americans in considered Cooper's first work of non-fiction despite a thin overlay of character and plot. Written in the form of a travel narrative, it addresses the widespread ignorance he encountered in Europe about the people and institutions of the United States. It is an exuberant chant of praise for American representative democracy, encapsulating the utopian vision that compelled Cooper's writing career over three decades.The introduction draws on materials never before published. this edition, distinguished by the seal of the Center for Scholarly Editions, is the first resetting of the text since the initial American edition in 1828.

Gleanings in Europe: The Rhine is an account of James Fenimore Cooper's travels in Europe at the time of the 1832 revolt in Paris, when he hoped General Lafayette would be declared President of France and when all of Europe was the stage for the morality play of French politics.Published in 1836 after General Lafayette's death, the book is, in part, an apologia for Lafayette, Cooper's ideal political man. Thus it is essential reading for understanding the development of Cooper's political ideas and his ideas about the nature of American culture.In The Rhine, Cooper deepens his skill at picturesque description of landscape and extends the range of the picturesque to include cityscapes. The complex relations between visual objectives and ideas reverberates throughout the book, whether Cooper is commenting on the public gardens of Heidelburg, a private Alpine landscape, or, especially, the garden at Lafayette's home.With American landscapes and politics always in the background for comparison, Cooper surveys the order of life in Europe and asks for a more liberal and humane political order in Europe and a more human and cultivated social order in America.

A contemporaneous reviewer called James Fenimore Cooper's England "unquestionably the most searching and thoughtful, not TO say philosophical of any" of the books "published by an American on England." Another cited with approval the "potent causticity" with which a fellow reviewer "develope[d] the gangrene of the author's mind in its most foul and diseased state."Such were the extremes of response elicited by publication in 1837 of the fourth and most controversial book in Cooper's travel series, Gleanings in Europe. Partly because of his ambivalence for most things British, England is perhaps the most fascinating of the travel volumes to the modern reader. Probably no American of his time was received more hospitably by the British upper classes, nor did any reciprocate with shrewder or more scalding criticism.Cooper himself thought well of his book, taking some delight in the stir it made in London and expecting it to do much good at home. The modern reader will be delighted by his novelist's eye for the revealing scene or detail and by the multidimensional perspective he provides on British-American cultural conflicts of the 1820s and 1830s.

France (1837) was the third volume published in Cooper's Gleanings in Europe series, but first in the chronology of his European experience. Less sequential than his other travel narratives, France distills his impressions of French and European culture during his first two years abroad. Exhibiting many qualities of the familiar essay, it considers a wide range of topics of interest to Cooper, his friends, and potential readers in the United States. As a celebrity thoroughly at home in the brilliant society of Bourbon Paris, Cooper was able to provide fascinating glimpses of personalities, spectacles, institutions, and manners-from his distinctly American perspective.Indeed, as Professor Philbrick remarks, "No other of Cooper's works, perhaps, brings us closer to his speaking voice or puts us more directly in contact with the man himself, with all his idiosyncratic preoccupations, his quick resentments, his restless curiosity, his surprising humor, and his nobility of principle."The reader of this edition is brought even closer to Cooper in the draft of a hitherto unpublished letter, probably intended for this book, which illustrates Cooper's grasp of the still finer points of French customs and attitudes.

"One of the misfortunes of a nation, is to hear little besides its own praises," wrote James Fenimore Cooper in his Preface to Wyandotté in 1843. The novel arrived at a time when a patriotic mythology about the American Revolution was developing, and Cooper's somber tale of the sufferings of an isolated family in upstate New York during the Revolution was not congruent with the celebratory stories then being told. One reviewer indeed objected to Cooper's "cynicism which hunts after cracks and crevices and unshapely stones in the altar of our political devotion."In its critical trenchancy, somber tone, and subdued action, Wyandotté is representative of the strongest novels of Cooper's last decade. The elements of romance that are prominent in his fiction of the 1820s here give way to a new emphasis upon characterization and a new interest in familial life. As Edgar Allen Poe observed, in Maud Meredith Cooper creates his most spirited heroine, and in Saucy Nick, his most credible Indian."Nothing is truly patriotic," Cooper warns us in his Preface, "that is not strictly true and just." In his last tale of the Revolution, he leaves national self-congratulation to the orators and newspaper editors and hews to his own demanding conception of devotion to his country.

Having drawn on local knowledge and private information for The Spy and on his own boyhood experiences for The Pioneers, it was inevitable that Cooper would seek a way to convert yet another area of his special knowledge into art. His first choice of career had been the U.S. Navy, in which he served as a midshipman from 1808 to 1810.In 1823, Cooper began writing The Pilot, which he saw as a sea novel that seamen would appreciate for its fidelity and yet one that landsmen could understand."Cooper's poetic power is reserved for the sea, which is no backdrop but a separate world with forces and laws of its own. The individuation of the ships, particularly the personification of the Ariel, contributes to the magic, but the exhilaration of the book comes from the triumph of human skill and intelligence over the uncertainties and downright hostilities of a world of waves, winds, and hidden reefs. The land offers neither a comparable challenge nor so heady a victory." - from the Introduction.

Written to commemorate the fiftieth anniversary of the beginnings of the American Revolution, Lionel Lincoln was a radically new experiment in historical fiction. To recreate its events with the utmost accuracy, Cooper visited Boston in person in 1824 to study buildings and terrain, examine battlefields, read affidavits, consult records of the weather, and compare primary sources. George Bancroft declared in 1852 that Cooper had "described the battle of Bunker Hill better than it is described in any other work."Announced as the first in a series of "Legends of the Thirteen Republics," Lionel was the only book of the series to be written, perhaps because it contained what Cooper wished to say at the time about the Revolution. Despite some improbable elements, it retains interest and pertinence today as an interpretation of the tensions-social, political, and military- that erupted in 1775.Published in New York in 1825, and reissued many times in this country in the original uncorrected text, Lionel Lincoln here appears for the first time in the United States in a text that incorporates Cooper's numerous revisions for the Bentley "Standard Novels" Edition of 1832.