The Writings of James Fenimore Cooper
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 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.
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 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.
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.
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.
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.
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.
